Posts Tagged ‘Caitlin Hulcup’

Ariodante is the last item in the Handel opera series presented in Braunschweig (among other stations in Europe) with Il Complesso Barocco and Alan Curtis. With Joyce DiDonato in the title role, this was probably its most sought-after concert – and one can easily imagine how disappointed the audience felt when they learned the news of her cancelling the whole tournée. In her place, it was announced the name of Caitlin Hulcup, whom I had previously seen as a charming Meg in Verdi’s Falstaff – I know, hardly information enough to gauge how efficient she could be in one of Handel’s most difficult primo uomo roles.  In retrospect, I can say that I am almost happy that I had the opportunity of hearing a bit more from this Australian mezzo-soprano. To start with, her tone can be so reminiscent of Lorraine Hunt’s that one cannot help but developing a favorable disposition, especially in this role in which this late Handelian singer was something of a reference. Even if Hulcup has a less consistently solid low register, her clear and fluent coloratura, crystalline diction, stylish phrasing and dramatic commitment procure her a prominent place in this repertoire. I would say her direct, dense and noble Scherza, infida is one of the best I have ever heard, live or in recordings. She was ideally matched by Karina Gauvin’s rich-toned, fluent, expressive and regal Ginevra. Sabina Puértolas has a pleasant, sensuous voice, but her high register is somewhat taut and her diction can be improved (her Italian has a touch of the other Mediterranean peninsula), but she could make something more interesting of Dalinda than what I am used to see. Nicholas Phan finds Lurcanio’s tessitura a bit uncongenial and would have to wait for his duet with the soprano to shine in his dulcet mezza voce. The role of the King of Scotland is a bit low for Matthew Brook too and yet he sang nobly and expressively. Then there is Marie-Nicole Lemieux. While I admire her spirit and energy, this is no replacement for proper technique. The plethora of antics, register inconsistencies and approximative fioritura often veered in the grotesque, and this is not what Handel wanted in this role.

I often find Alan Curtis a conductor more concerned about warm, beautiful orchestral sound and gracious rhythms – and so he showed himself in the first part of the evening. After the intermission, though, the proceedings increasingly gained in impetus, in theatricality and in panache. By the end, it was quite a gripping performance. The orchestra had no small share of responsibility there – they often reacted to the singers in a very organic and effective way. I would say that this was more compelling than the recording released by Virgin Classics (if not as exciting as Marc Minkowski’s for Deutsche Grammophon). The edition performed tonight was sadly heavily cut – not so much in the sense of deleted numbers (Dalinda’s Il primo ardor, maybe the King’s Al sen ti stringo…), but in the deletion of the B section and repeats in a great deal of numbers – most unforgivably the lovely duet Bramo aver mille vite. It may be my imagination, but I had the impression that Ariodante’s Con l’ali di costanza showed some discrepancies to what I am used to hear.


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Before I say anything about this evening’s performance, I must warn you that I cannot say that I really like Verdi’s Falstaff. I acknowledge the ingeniousness and creativity, but the music does not really pluck any string in my heart. The last time I have seen it live in 2005 at the Met, I remember I wrote that, if James Levine’s irreproachable performance had not convinced me to like it, I would probably never do it.  Although that performance has many similarities to the one I have seen today at the Théâtre des Champs-Elysées, I can say I am getting closer to enjoy the work than I thought.

First of all, as much as James Levine, Daniele Gatti is a conductor with a symphonic approach to this work. If my memory does not fail me, there is one crucial difference – while Levine’s rich-toned almost-Straussian performance gave pride of place to musical values, setting the orchestra as the real “soloist”, Gatti achieved the right balance between dramatic and musical values, rendering the graphic effects in the score with almost unfailing precision and taking care never to drawn his singers in thick orchestral sound – and yet the Orchestre Nationale de France produced multicoloured, translucent, expressive sounds.

As much as in the Met performance, a British singer took the title role. Curiously, back in 2005, Bryn Terfel was indisposed and could barely sing the final act. Unfortunately, Anthony Michaels-Moore also happened to be sick today, but agreed to sing nonetheless. The similarities between these singers end here. While Terfel was an extremely affected and heavy-handed Falstaff, Michaels-Moore scores all his interpretative points in subtlety. Even if the flu has robbed his velvety baritone of colour and overtones, one can see it is a round, rich and pleasant voice with a varied tonal palette, keen on fluent legato. Because he never overdid any comic effect, his Falstaff always sounded convincing in his aristocratic self-delusion and particularly funny because of that. To make things better, he possesses natural talent for comedy and had the audience on his side at every moment. Baritone Jean-François Lapointe too was announced indisposed. Although his low register was not really functional, he had no problem with the high end of his range and produced some firm top notes. Paolo Fanale’s tenor is rather open and lacking roundness, what made him a not entirely seductive Fenton, but he proved he could effectively soften his tone in his big solo.

This was my first experience with Anna Caterina Antonacci in the theatre – and all I can say is that she more than fulfilled my expectations. Her voice is both richer and smoother live than in recordings and the way how she inhabits the text, colouring each word as if she herself was speaking her own lines made her a particularly spirited Alice. This is a role that tends to take second place in most performances of this opera – not this evening. She was ideally matched by the fruity-toned Meg of Caitlin Hulcup and the not entirely Italianate, but ideally delicate Nannetta of Chen Reiss, who floated haunting pianissimi as if it were the most natural thing in the world. If Marie-Nicole Lemieux lacks the solid middle register of an Italian mezzo, she does have impressive low notes and a really engaging stage presence. Minor roles were cast from strength in the veteran butstill  fresh-toned Raúl Gimenéz (Dr. Cajus), Patrizio Saudella (Bardolfo) and Federico Sacchi (Pistola).

Mario Martone’s Victorian staging could not be less imaginative – although Ursula Patzak’s costumes were quite beautiful (if conventional), Sergio Tramonti’s sets were particularly unconvincing in the use of a fire-escape-like staircase as a fixed element around which props were added for every scene.  The closing scene especially gave an impression of carelessness and limited budget. That said, the direction of actors itself was refreshingly up-to-the-point and spontaneously yet precisely rendered by this gifted group of singers.

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