By Handel, at the Barbican.
Le Concert dAstrée Orchestra & Chorus
Emmanuelle Haïm: conductor
Geraldine McGreevy (soprano): Theodora
Anne Sofie von Otter (mezzo): Irene
Matthew Rose(bass): Valens
Stephen Wallace(counter-tenor): Didymus
Paul Agnew(tenor): Septimus
I thought it was going to be a concert version of an opera, but it was actually an oratorio that has been staged...excerpts of the Glyndebourne DVD are posted on YouTube.
I don't know the oratorio, but I don't think this is necessarily a serious handicap to enjoying Handel, the great impresario who churned out works to a formula...a great formula. Some really sublime music, and a compelling story. The only thing about Handel is that I feel each of the operas/oratorios (except Messiah) are pretty interchangeable. That's not a bad thing, but nor is it particularly good thing. It's a thing.
As is usual, the main protagonists took to the stage. On my side, the three gentlemen and a woman; funny, I thought I know what both Geraldine McGreevy and Anne Sofie von Otter look like, who's she...Oh, she's the conductor...Blatant sexism on my part - it was the first time I have ever seen a woman conductor live, so perhaps I am just reacting to the sexist conditioning of society. I wonder why there are so very few women conductors at any level, considering that orchestras probably reflect the gender balance of any professional workplace with unsocial hours and trips away, and singers and solo instrumentalists seem to be pretty evenly split on gender lines. And to my shame, I did spend a portion of the first act thinking, I don't have the ability to judge this conductor against various others I have heard/seen, because I keep noticing her, which is not a good thing, but that's because she's a freak, a woman conductor. But then I stopped noticing her, which is a good thing, and the orchestra sounded lovely. Just the right setting and the right work for a Period Ensemble, and whilst they didn't seize me with burning passion I found them consistently pleasant throughout.
I was a bit hesitant about what I'd say about the eponymous heroine, being that she's a blogger, we've mutually commented, and I can be quite harsh on sopranos that don't pass muster. To my relief, I do not have to pick my words carefully, she was splendid. A really gorgeous voice, with a rich creamy lower register and no flaws all the way up, clear enunciation and intelligent interpretation. I particularly enjoyed Angels ever bright and fair, which was sung with tender feeling. And gorgeous shoes. Really gorgeous shoes.
I am not a counter-tenorist, being much more of a tenorist, so, realising that one was in a very major part, I just sighed and thought "Well, this is the downside of Handel, just grin and bear it." And I have to confess at first I had my usual counter-tenor reaction: beautiful sweet voice, but I've heard enough of you, the lack of variation in tone is getting boring. But as the evening progressed I warmed more and more to Stephen Wallace's voice. I understand he was not very audible in the gods, but from where I was on the floor he was perfectly audible. He started out with quite awkward body-language, like a gawky youth, but as the story rolled on, and the character gained a maturity, his body language took on a suaver confidence, which is quite sophisticated acting for oratorio! The closing duet with Theodora was quite possibly the absolute highlight of the evening
I found Anne Sofie van Otter really quite disappointing, considering especially she was ostensibly the star name. Once or twice I found her below pitch, more often she was straining for the high notes, and on a few occasions she just didn't even attempt them, just letting the voice die away. One of the people I was chatting to said she was far too operatic for this work; another said she lacked the serene piety required for the role. I can't say either thought had previously occurred to me, but on reflection, I had to agree.
Paul Agnew sounded fine in a role where I suspect it would be difficult to sound better than fine. A typically English tenor, and, perhaps unfortunately, he does look a bit like a Chartered Accountant. I don't mind the occasional Chartered Accountant looking like a tenor, but I prefer for the converse not to apply.
The biggest treat of the night was Matthew Rose. I have heard him in one or two comprimario roles live, and have a Mozart Requiem where he is a splendid bass soloist (trouble is I have another Mozart Requiem where Gerald Finley is a splendid bass soloist, and I regard Requiem as less-than-top-drawer Mozart...). I have to say that Matthew is definitely one to watch for the future; he has a number of secondary roles this season at ROH and ENO, but I suspect that he will soon be moving onto the major bass and bass-baritone parts, and I will welcome him in them.
All in all a thoroughly pleasant evening. Not necessarily one that will linger in my memory for ever, but a thoroughly nice way to get back into the swing of opera for the season.
And a big hello to Alison and friend, to David and Frances, and to the ubiquitous Stephen with whom I pleasantly spent the intervals.
