IN AN ITALIAN GARDEN showcases the latest vocalists picked to join maestro William Christie’s early music academy. The result is an exciting performance in which the individual voices depict characters which bloom with freshness, vitality and beauty.
Les Arts Florissants tour the world with superstar status. The fans are once more not disappointed by the chance to hear its bold growling basses, period wind music and the crisp leading of upper strings live as the instruments accompany the featured vocal artists.
Throughout the programme, all of the vocalists maintain a high level of dramatic range and intensity. They sing opera seria and buffa as well as solo and ensemble vocal works, skilfully juxtaposed to develop a theme.
Effective semi-staging by Sophie Daneman with props and steps on the stage heightens key aspects of two distinct narratives. Some interactions between characters and the conductor also work well as versatile acting exploits the full stage.
The first half deals with the pleasures and pitfalls of love. After interval comes an amusing satire on the business side of opera, its performers and music. Both concepts are elegantly and energetically launched, hitting their mark as keenly as Cupid’s weapon itself.
From the madrigals of Banchieri and Vecchi, the evening gets off to a charming start. The cast emerge singing of their vocal roles and the humours music will communicate. The text declares “the most esteemed musicians are gathered here”.
This quote is proved correct throughout the first half as ideas of love, jealousy and loss are developed. The cast manipulate an imposing metal Cupid’s arrow as they sing. Madrigals on hopeful love from Stradella and De Wert unite the cast with a beautiful blend and smooth chromaticisms.
The trials of Handel’s ‘Orlando’ are portrayed with brilliant vocal effect and physical movement by counter-tenor Carlo Vistoli. Baritone Renato Dolcini gives an animated performance of the same in an extract from Vivaldi’s ‘Orlando Furioso’.
Soprano Lucía Martin-Carton replies with a soothing “Lascia la spina” (“Leave the thorn”) from Handel’s first oratorio, ‘The Triumph of Time and Disillusionment’. The melody is better known as “Lascia ch’io pianga” (“Let me weep”) from ‘Rinaldo’. In this guise it is given a detailed performance of restrained beauty which captivates the audience.
Nicholas Scott delivers an entreating “Care Pupille” from Vivaldi’s opera ‘La Virtù trionfante dell’Amore e dell’Odio. His even tone finally wins over the defiant acting from a mezzo soprano Lea Desandre, who transforms into an hilarious buffa performer after interval.
Desandre’s rapid text delivery and satirical energy in works by Cimarosa and Haydn are dazzling. Her sparring with bass-baritone John Taylor Ward in Domenico Sarro’s ‘L’impressario delle Canarie’ is also well-timed comic opera work.
The rehearsal conflict is soothed by a solo cantata excerpt by Nicola Porpora. Carlo Vistoli once more displays his wide counter-tenor range. He performs seemingly effortless elaborations whilst seated consoling his fellow performers.
The final ensemble from Haydn’s ‘Orlando paladino’ is a cheery conclusion. It once more presents Le Jardin des Voix to be a formidably trained sextet as well as focussed performers in solos and smaller ensembles.
We are fortunate Les Arts Florissants includes Australia as well as France, Hong Kong and Russia on Le Jardin des Voix tour in 2015 – especially the garden of the Sydney Opera House Concert Hall stage, beautifully decorated with flowers on March 12.