Orlando, Handel’s opera, brings the triumph of Kathryn Lewek as well as Christophe Dumaux and the Il Pomo d’Oro Ensemble under the direction of Francesco Corti in concert version at the Théâtre des Champs-Élysées:
Roland, Knight of Charlemagne, notably inspired the legendary “Roland’s song“in medieval literature (11th century, at the time of the First Crusade), then in Italy Orlando in love (by Boiardo in the 15th century) and Orlando furious (Ariosto in the 16th century). So many characters that are magnified this evening in this Elyos interpretation of the opera created by Handel in 1733.
The soloists are already entering the scene with these characters, in an attitude befitting their character. Admittedly, they have their score under their arm, but they put it on the desk and read it very little, in order to deploy their incarnation in direct connection with the public. This is particularly remarkable with regard to Christophe Dumaux, because of the capital importance of the title role he holds, but moreover because he replaces Franco Fagioli here initially planned. The French countertenor (reviewed last month for the Grand Concert Anniversaire Gala des Arts Florissants at the Philharmonie) first composes his performance as on a blank page, with not very expressive lines, favoring continuity in the vocal support, homogeneity of vibrato and articulations. The volume and the scenic intentions remain in fact measured but the artist animates them over his entrances and exits from the stage (including for a single sentence), until deploying the disheveled feelings of the character in the second part of what becomes a fireworks display. His Orlando whispers, whistles, scoffs and even howls, with lyrical cries. A communicative energy for the whole set and the intensity of the public acclaim.
However, the evening crowns, with the applause and the richness of nuances, the Angelica interpreted by Kathryn Lewek. The soprano who triumphed at the last Salzburg Festival in Eurydice in Orpheus in the Underworld by Barrie Kosky (full video) and who will be Lucia of Lammermoor in Nice in May (reservations) enters the stage radiant and confident. The opulent voice is adamantine precision, polished in line, nobly raw in the thickness of vocal body and even a few expressive sighs. It vibrates over the entire range of colorful, agile highs, down to deeply seated bass. Graves that even resonate those of the contralto at his side: the role in pants of Medoro is indeed (tonight in any case) too serious for Delphine Galou, for the holding and the vocal support. The projection is restricted, the lines very straight until they are rough, but the orchestra offers it slow motion to soften the tone.
John Chest also makes a replacement (Luca Pisaroni was originally planned in Zoroastro). Its mission is to open up the drama and bring it to its conclusion. He performs his office with a dazzling baritone support but it lacks a little the low notes, much the support and the colors of this character pulling towards the bass. His body of voice is however present and held with certainty, without bursts of volume but with jaw supports which give accents to the lines and character to the character, all spun on a long breath. Nuria Rial is a tender Dorinda shepherdess, elegant pastourelle in dress as in vocal dress. Punctuated by intense silences, its suspended treble suspends the time and the breath of the audience. However, its highs are projected (without being fully controlled) when the shade requires more thickness than its measured volume.
The conductor Francesco Corti is as furiously animated by the management, as well seated playing the harpsichord (a splendid gold and ebony instrument enthroned in the center of the stage), as standing, and most of the time leaping between these two stations. . The Il Pomo d’Oro orchestra thus furiously animated, the bows are crushed in the supports (in particular the runaway entrances) and thrown at full speed in the momentum. The two woodwinds, two coppers, two theorbs are in this spirit of an Orlando furioso, but they also guide Orlando amoroso with soft trills and spun outfits. The evening preserves this breathtaking animation sequence with large and rapid growth amount immediately after the frequent and sudden pianissimo. Enough to take the audience and bring cheers.
Still as numerous despite the transport strikes, the audience of the Théâtre des Champs-Élysées (a place certainly well served by automated lines) made a triumph at this show, all of which they will have warmly applauded.
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