Entrancing Orlando at the Concertgebouw

The Dutch capital is spoiled when it comes to baroque opera in general and
Handel in particular. The current season alone has included concert
performances of Theodora, Tamerlano and Partenope,
as well as a staged run of Ariodante. This surfeit would explain the
many empty seats at the Concertgebouw last Monday. By rights, this entrancing
performance deserved a full-capacity house. Orlando relates how
Roland, Charlemagne’s chief paladin, goes mad when he realises that
Angelica, Queen of Cathay, does not love him but the African prince Medoro. The
action takes place around a grove, the habitat of a shepherdess named Dorinda.
She also falls for Medoro but, although disconsolate, accepts that he will
never be hers. Orlando, on the other hand, refuses to resign himself and
suffers a psychotic episode. He imagines himself visiting the underworld, then
goes on a vengeful killing spree, after which he falls into a deep sleep.
Fortunately, the fifth character in the cast is Zoroastro, a magician who must
be the hardest working deus ex machina in all of opera. Zoroastro
foresees Orlando’s actions and intervenes several times, with escape
chariots, topographical transformations and healing potions. In the end, he
brings Orlando to his senses and also reveals that he has saved Angelica and
Medoro from his murderous rage.

Harry Bicket, conducting at the harpsichord, took the cue from the opera’s
pastoral character and presented the score as a Rococo idyll in soft sunlight.
The listener could just sit back and bask in the assured precision and
shimmering sounds of The English Concert. Consistent with the emotion-driven
plot, the musical story-telling was inwardly sensitive rather than ostensive.
Dramatic eloquence emerged from the disciplined and meltingly beautiful
playing, such as in Dorinda’s sad nightingale aria “Quando spieghi i tuoi
tormenti”, where the laden rests suggested suppressed sobs. Such refined
expression is impossible without soloists to match and all five were on a par
with the orchestra. Soprano Carolyn Sampson was Dorinda, struggling valiantly
between staying sensible and giving way to self-pity. Her first aria,
expressing breathless infatuation, made a distant impression, but slowly her
Dorinda developed into a detailed, endearing character. In an evening of
stunningly sung arias, her lovelorn lines in “Se mi rivolgo al
prato” lingered on, and the highs and lows of the whirlwind “Amore
è qual vento” were a peak of technical brilliance.

Soprano Erin Morley and mezzo-soprano Sasha Cooke clad the desired couple,
Angelica and Medoro, with befitting vocal glamour, diamantine glitter for her
and heavy silk velvet for him. In “Vorrei poterti amar”,
Medoro’s apology to Dorinda, Ms Cooke tugged a little below pitch, but
elsewhere her performance was molten gold, especially her enchanting
“Verdi allori”, one of Handel’s gorgeous tributes to
vegetation. Ms Morley’s high-centred voice flared brightly at the top and
she threaded Angelica’s bravura arias precisely and without a hint of
effort. Zoroastro’s series of stunner numbers were entrusted to
bass-baritone Kyle Ketelsen. His lowest notes are not pitch-dark, but his
smoothly produced voice has a most comely timbre and his singing grew finer
with every entrance. Mr Ketelsen’s rationalist magician was fresh-voiced
and lyrical—a young and sexy Gandalf, if you will. Or, in modern terms, a
wise and kindly therapist one goes to see when love not only hurts, but breaks.
And who would not be consoled by the optimistic “Sorge infausta una
procella” sung with such roundness and yards of sleek coloratura?

As it happens, pristine coloratura was in abundant supply all evening, not
least from world-class countertenor Iestyn Davies as a guileless Orlando. The
orchestra’s gathering speed in the showpiece arias “Fammi
combattere” and “Cielo! Se tu il consenti” showed off his
unerring agility. During the mad scene, his Orlando was pitifully confused
rather than terrifying. With a voice rich and resonant in the middle, but less
so at the bottom, Mr Davies had to contend against the lower strings to be
heard in “Già latra cerbero”. The subsequent “Vaghe
pupille”, in which Orlando imagines the queen of the underworld crying,
captured the essence of his superlatively sung portrayal—unaffected
pathos in the measured A section and a rankled, brittle psyche in the manic B
section. Daring is required to slow down music almost to a standstill for
expressive purposes. In Orlando’s sleep aria, “Già l’ebro mio
ciglio”, accompanied by two soothing violas, Harry Bicket and Iestyn
Davies dared to float their phrases in a torpid haze, creating musical opium.
It was just one of the many spellbinding moments of the evening.

Jenny Camilleri

Cast and production information:

Orlando — Iestyn Davies, Dorinda — Carolyn Sampson, Angelica
— Erin Morley, Medoro — Sasha Cooke, Zoroastro — Kyle
Ketelsen, Conductor & Harpsichord — Harry Bicket, The English
Concert. Heard at the Concertgebouw, Amsterdam, Monday, 7th March

image_description=Carolyn Sampson [Photo by Borggreve]
product_title=Entrancing Orlando at the Concertgebouw
product_by=A review by Jenny Camilleri
product_id=Above: Carolyn Sampson [Photo by Borggreve]