Handel - Giulio Cesare in Egitto (Negri) DVD[b]
MPEG2 7500Kbps | NTSC 16:9 (720x480) | PCM Stereo, DTS 5.1 | 3h 36 (84:10 + 128:24) | 11 GB
Classical | Label: ® Harmonia Mundi Fr. | Subtitles: Italiano, Francais, English, Deutsch
This Harmonia Mundi DVD release of GIULIO CESARE from Denmark, recorded in 2005 is, quite simply, magnificent. Everything about this release signifies a major event, starting with the packaging. A beautifully produced gatefold DVD case, attractively and conveniently laid out. The booklet gives all the relevant information, with the synopsis synchronized with the tracks (the only drawback is that there are only 9 tracks for the first DVD, 15 for the second; given that Universal Classics painstakingly separates the recits from the arias the Ponnelle film of COSI for example has over 35 tracks per DVD, this is inconvenient, because you have to do more searching if you want to). Best of all, though, the booklet has a concise, scholarly, passionate essay written by Winton Dean; I find it amazing that he can convey the virtues and cover the relevant issues in so economical a fashion.
The production is typical contemporary, with several token ancient Egypt symbols and props. There are some concepts that escape me, and I may summon up the means to assimilate it...then again, I might not. There are some very intriguing ideas, even of wonderful elegance, mixed up with some confusing ones, but mercifully, the gimmicks are kept at a minimum. There are even some terrific moments of sly humor, and the ideas work surprisingly well. The most important thing is, the artists interact with involvement, always at the service of the drama, and imparting it with "fanatical consecration (Lilli Lehmann's term)" This is a thoroughly worked-out, supremely dedicated production, of a type you rarely see.
What matters here is the performance, and it is just splendid. I think this is as near to a "correct" Handelian performance of an opera as we're going to get. Lars Ulrik Mortensen (again magnificently) leads the orchestra; original instruments of course, and they sound wonderful. The score seems complete, but I learned that there are a few small cuts.
But what a magnificent score this is, sinuous, intensely expressive, and often haunting. And these singers are incomparable. All the voice parts are distributed correctly. I'm at a loss to describe Andreas Scholl's performance in the title role. His singing transcends simple musical values. All the purity and fluency (mind-blowing, actually) required is fulfilled, and then some. Best of all, despite his voice's type, he is unerringly, deeply masculine. Tall, and solidly built, he commands the stage, physically at ease, and charismatic. Scholl is, undoubtedly, a truly great artist. It is really something. Everything about him bespeaks flawless musicianship and the highest artistic integrity.
Equally great is Inger Dam-Jensen's mercurial, sensual Cleopatra, perhaps the best I've ever heard in the role. Her voice is shining, clear, and she uses it to great effect. Her soft singing is stunning, and her bell-like tone gives constant pleasure. She is also a sight to behold, truly the alluring Vixen of the Nile. Dam-Jensen even strips to take a bath in act 3; her physical performance is a constant joy to watch. The "Se pieta" shimmers like moonlight on a rippling lake (a groaner of a metaphor I know).
There is one unusual singer here, by the name of Michael Maniaci, who sings Nireno. As I understand it, Maniaci is a true male soprano: he was born with some kind of palsy that impeded puberty from setting in (his slightly distorted face shows the palsy's effect), and therefore never developed. As a result, he has the same circumstance as if he were a castrato. His singing is amazing: he can sing up quite high, his coloratura is fluent, with an astonishing trill.
Randi Stene as Cornelia, and Tuva Semmingsen as Sesto are two more winners: Stene has a gorgeous tone quality, and her singing/acting is captivating. Semmingsen has a crystal-clear shine to her voice, agile, and is very believable in her pants-role persona. A particular pleasure are these two in the duet, "Son nata a lagrimar."
Christopher Robson's Tolomeo is sweet-voiced, but terrifying in appearance, and it works. He's imparts a real joy in his bulldog-faced villainy. Achilla is portrayed by bass-baritone Palle Knudsen, and he too is a strong presence, and sings his muscular aria with remarkable fleetness.
As a matter of fact, the most wonderful part of this performance, is, indeed, how sweet of tone all the treble voices are. They are, thankfully, not made to sing in that 1980s mode of straight-toned vocalism, and they sound as naturally vibrant as need be. But there is not a single squally tone here, or any blots in any of the casting to compromise the performance.
We may be left wanting for Verdi in these times, but as evidenced by this performance, Handel is truly undergoing a rennaissance. It may be said this performance reaches for and meets the goals with the highest honors.
Handelians, rejoice greatly - I think you will enjoy this. For those with aversions to Handel or Baroque opera, this performance may transform you.
[b]Performer:
GIULIO CESARE – Andreas Scholl (countertenor)
CLEOPATRA – Inger Dam-Jensen (soprano)
CORNELIA – Randi Stene (contralto)
SESTO – Tuva Semmingsen (soprano)
TOLOMEO – Chistopher Robson (countertenor)
ACHILLA – Palle Knudsen (bass)
NIRENO – Michael Maniaci (countertenor)
CURIO – John Lundgren (bass)
Concerto Copenhagen
Conductor - Lars Ulrik Mortensen
Stage Director – Francisco Negrin
Download Links:Thank you!
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