Juditha triumphans in Amsterdam

After Semiramide, we have been waiting anxiously for this opportunity to hear Iervolino swaggering on stage as smooth silky Holofernes. I confess when first seeing the cast yesterday of frowning upon seeing Gaëlle Arquez’s name as Juditha. I have heard her as Armide in Wien and did not having much impression.. Well, can we say we have found a Juditha for the next 10+ years?!

Vivaldi’s Juditha Triumphans
Dutch Nationale Opera
Juditha: Gaëlle Arquez
Holofernes: Teresa Iervolino
Vagaus: Vasilisa Berzhanskaya
Abra: Polly Leech
Ozias: Francesca Ascioti
La Cetra Barockorchester
Andrea Marcon
Saturday 26/Jan/2019

So, this whole blog post might be about Juditha.. Let’s see how it goes.. With the militarish staging I was not sure which way it would go.. sometimes with modern staging suits and ties are more up my alley.. But, from the get go we were greeted with a very toxic Vagaus, the type singling out women to taunt and escalate the brutality.. it did set the stage quite well for Juditha’s desperation. Though the orchestra was SUPERB (and Marcon) I have to confess I think it was too “loud” for Holofernes first aria. That, combining with a staging that put Iervolino quite deep (in a huge stage) facing “IN” away from the audience at times, made it quite more difficult to hear her well rounded tone in “Nil arma, nil bella” . Even Vagaus’s first aria, to my ears, the orchestra was too loud.. though Dehggi and Agathe reported excellent hearing of Vasilisa Berzhanskaya’s singing, I confess also not hearing her too well either… The mood changed with the arrival of Juditha, to this tune:

As I have written last year at Carnegie Hall, Juditha is a very difficult role. Her music is somber, dense, intense, all elements that require a lot of phrasing, color, dynamics, and the subtle ability to sustain the tension. Of the many things I have seen Gaëlle Arquez in, mostly on youtube, and once live as Armide, nothing prepared me for her intense and subtle stance to convey the vulnerability of Juditha. Just her presence on stage while the orchestra building up the suspense was worth re-watching. Then the phrasing started, w.o.w. … it’s quite a revelation to finally get someone who can reveal the gorgeous lines in Juditha’s music.. In particular, I love her timbre, it’s a mezzo voice with enough heft and solid tone to sustain a line distinctive from the orchestra such that it does not get covered as easily. The key thing is the subtle change in the music line that brings out vulnerability: She came to request help for her people, but was fully at the mercy of Holofernes and Vagaus. Things could have gone either way during the first meeting.. I think here we come back to the acting: for me it’s best when one achieves a stance and expresses music, with very subtle movements to convey the situation, without any need of overdoing.. in fact with Juditha’s music I find her approach of less moving but expressive yet subtle body angle and musical phrasing extremely effective. What can I say, after so many years of frustration1. I think we have found a Juditha who can do justice to the music (and acting chop to portray the character)! And she has many many arias solo with exotic instruments. Actually this is to Arquez’s great advantage as she can cover the full range (in notes) while being expressive and not at all being covered by large number of violins (which is unfortunately not the case for Vagaus and Holofernes).

Since Juditha’s acting and singing was so on point, everything seemed to work. Here we also comment highly Vasilisa Berzhanskaya’s acting in making Vagaus (and Holofernes’s side) to be so unlikeable and violent such that Juditha saw no other way to escape. The staging has Holofernes to be quite more humane (as oppose to Vagaus) and at times opposed violence against women (which was the behavior of his troops throughout the two hours of the opera). The staging was also quite effective in bringing out the different mood in the music, for example during “Veni me seguere fida”, a very solemn aria when Juditha and Abra sat by the burial of their countrymen and communicated tender private lines about their past and fate. This came right after their conversation with Holofernes, with the stage turning to show the constant torment and why Juditha must (somewhat) follow through with a (not-fully) plan.

In the end, all of Juditha’s mood, conflict, and conviction were well portrayed both vocally and through acting, both through seduction and torment and in the end madness as triumphant music returned to glorify the beheading act.

Perhaps some mentions here of the rest of the characters 🙂 . Holofernes is sooooooooo smooth and silky in “Nox obscura tenebrosa” and “Noli, o cara”. Actually after the intermission Holofernes music were also more mellow and required less accompaniment, which allowed for Iervolino’s gooooorgeous voice to shine without needing to compete with the violins. And Iervolino’s acting (partnered with Arquez’s) was spot on and convincing. The beheading scene was very effective 🙂 . Abra was quite nicely portrayed as someone clearly following and loyal to Juditha but not as skillful and intelligent.. Vocally she was good. I also like her acting, especially in the first aria when they both have just arrived and met Vagaus and the brute troops, who quickly tossed Juditha around. Here Abra took over in a flirtatious way (a very courageous move it seems to protect Juditha) to distract the troops and gather their attention away from Juditha. As for Vagaus, I progressively heard her better as the evening grew, but might leave it to Dehggi (and Agathe) to write/comment more as I’m no expert in fast and furious arias, and especially when my ears are just not well tuned to hearing well her voice type (she has a on-the-softer side tone, something like Connoly’s tone, which simply didn’t make it well to my ears in general when there’s orchestra playing at the same time..)

Altogether, it was a very rewarding experience to see a staging that makes sense and strong singers (and actresses) to bring the storyline fully forward. We are still discussing it, with the trip back listening to the entire Juditha again (with Mingardo) to recall how the story evolved.. if you have a chance do come check out the goooooorgeous music and some very fine Vivaldi singers, excellent orchestra and chorus.. I hope the orchestra will not cover the singers as much in the rest of the run.. For the record we sat on the left side second balcony, where possibly the violins might have come up directly and too strong.. but it’s a huge stage, and with singers being put quite a bit deep in, I think the orchestra can be a bit less loud… And we hope to see this pair of Juditha-Holofernes (Arquez-Iervolino) for many years to come.

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Edit

1. We all got into Juditha a little bit too late to catch the wave of S.Prina or S.Mingardo or A.Hallenberg touring alternately as Juditha.. Speaking for myself what I have heard up until this performance left me between uninspired to confused about the character, with occasional frustration..

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mezzo soprano romeo

what do you think of the youngster’s WS (wearing) skill?

one can also listen of course . i got there via a search “mezzo soprano romeo”. The tempo is a bit slow and too regular.. but it’s just not fair that i always have VK’s Dresden’s Romeo in my head. Though perhaps a sword can make things more spontaneous :-).

duet to start the week

(in case more swagger is desired, click here. I’ve had it stashed for the last 10 years and have been going back to it from time to time..)

(oh, also, the synopsis! teehee. the overture does contain everything! I love how they use English in parallel, got to reach out to those fans from out of town.)

a new Sesto for sunday

Continuing with mezzo/contralto in trousers (i can make this a series!), here is Lucia Cirillo as Sesto. She does some reallly nice things to the lines/phrase, i would like to see her in this!

Edit:
That poster didn’t allow viewing embed videos so you’ll have to view on tube. I really love her singing Mozart, in particular this aria (Ah, perfido, which opera? La Finta?), veeeeeery sensitive, i’d very much like to see her more in Mozart!!

And of course, per usual, we would like to learn a little bit how she got into singing… a professional classical guitarist before switching to singing at 20! From this cool short interview.

Edit2: oh, hihi, i reread, it’s Beethoven! which opera is it? Fidelio? whatever it is, i’d like to hear her live singing it, and the aria (Ah, perfido).

music for wednesday

Edit:
ooof, in case we are curious about the countess after the above clip, we can see her more here. Not quite Malena Ernman’s cartwheel flip and push-up but .. stretch is important!

contraltos Ruggiero & Medoro ftw

for those getting a headache this past week in Venice from Medoro, let me offer a solution that works on so many levels, or as I say it, music written for contraltos sung by contraltos, ❤

do take a moment (or five) just to hear how WARM the sound is!!! as well as the acting!!

And while we are at it, please feel absolutely free to imagine Lucia Cirillo’s Alcina to this Ruggiero…

to jog our memory, at about here, Alcina is caressing Ruggiero on top of the steps…

while the adorable hippogriff kneeling to Bradamante…

music to bridge Wed-Thur

clip from a channel called “Barock’n roll”, very appropriate! I have been quite curious for a while where this aria fits in, especially because E.Haïm seems to cut it in all her versions… here it is, along with the growling (in low notes) and finger pointing! Bonus: Mezzo in glasses and lots of female players in the orchestra.


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Händel Il trionfo del tempo e del disinganno; Disinganno’s aria (translation text also thanks to the poster).

Chi già fu del biondo crine
consigliero, al suol cadrà.

Soffra pur le sue ruine,
se sovente egli compose
con i gigli e con le rose
tanti inganni alla beltà

He who was once the counsellor of
blond tresses shall fall to the ground.

Let him indeed suffer ruin,
since so often he devised,
with lilies and roses,
so many deceits for beauty.