by Carla Sampedro
The second version of George Frideric Handel’s opera Giulio Cesare in Egitto is premiered in Spain with a magnificent cast. Signed by the composer in 1725, it contains four more arias and a change of tessitura in the role of Sesto, who evolves from mezzo-soprano to tenor. Hungarian soprano Emöke Baráth and Italian countertenor Carlo Vistoli led a dream cast that came close to a Haendelian sublimation.
Carlo Vistoli came in strong. Empio, dirò, tu sei was an exhibition of technique and fiato. He performed difficult and unique variations in all da capo, such as the final cadenza of Va tacito e nascosto, which surprised for its duration and exquisite intonation even in the singer’s maximum solitude. The agilities of Al lampo dell’armi were from another planet. Speed, precision and power characterised his reading of Cesare. Although he was more pleasant in the winning arias, Aure deh per pieta was also heartfelt and impeccable. In contrast, Emöke Baráth shone in the slow arias. Piangerò la sorte mia was the highlight of her performance; sensitivity, taste and precise dynamic control transformed this very sad lament into an intimate moment that was rewarded with the loudest applause of the evening. It was well deserved! Likewise, grace and seduction coloured V’adoro pupille and Non disperar, chi sa?, arias in which she was vocally neat, if not as expressive. The final duet Caro Caro! Bella! Più amabile beltà was the crowning finale of a performance in which the protagonists were close to absolute perfection.
Beth Taylor’s Cornelia was very lively. She stood out for her expressiveness and her lines. From Priva son d’ogni conforto she made her credo clear: music is emotion. In keeping with the “Theory of the Affections”, Taylor knew what she was singing at every moment, she spoke every word from the depths of her soul and tried to inspire the hearts of those present. If only they would all sing like that! Counter-tenor Carlos Mena shone in the recitatives. His Tolomeo was more expressively controlled in the arias, which went rather unnoticed. He sang confident Italian throughout and surprised with an unbreakable thread of fast coloratura in L’empio, sleale, indegno.
José Antonio López was a spectacular Achilla, his elegant phrasing a real highlight! Dal fulgor di questa spada, Se a me non sei crudele and Tu sei il cor di questo core were a delight from start to finish. His solid stage presence and assurance were also remarkable. The Sevillian tenor Juan Sancho was of inferior quality. In the role of Sextner, he vacillated between excellence and mediocrity. Svegliatevi nel cor and L’angue offeso mai riposa were his best arias, especially the latter in which he showed great passion and very good coloratura. It is a real pity that her high notes are not technically resolved, as she has an interesting and amazingly beautiful instrument.
La Cetra Baroque Orchestra Basel, conducted by Andrea Marcon, accompanied the soloists to perfection. The tireless energy of the orchestra members and the very sweet phrasing, which they did not neglect for a second, made the audience go wild. This was to the credit of the composer and all the musicians present who, without exception, gave their all to the music. Triumph of Marcon! Triumph of Handel! Triumph of the Baroque!