Georg Friedrich Händel: La Resurrezione (HWV47)

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Georg Friedrich Händel: La Resurrezione (HWV47)
Oratorio on a libretto by Carlo Sigismondo Capece

Emöke Barath, Angelo
Hasnaa Bennani, Maria Maddalena
Delphine Galou, Maria Cleofide
Martin Vanberg, San Giovanni
Martin Vanberg, Saint Jean Baptiste
Riccardo Novaro, Lucifer

Accademia Bizantina
Ottavio Dantone, conductor

Between 1707 and 1710, Handel (1685-1759) undertook a trip to Italy to immerse himself in the Italian dramatic style, which was very fashionable at the time. First in Rome, he discovered a particular situation: Pope Clement XI banned opera performances there, for reasons as much religious as political. It was then that oratorio academies were created in the Roman capital, a religious genre of lyrical drama, without staging. Handel's musical talents and sociability allowed him to quickly acquire the protection of the Marquis Francesco Maria Ruspoli. In 1708, the latter wanted to show his allegiance to the Pope and commissioned Scarlatti (1660-1725) to write an oratorio commemorating the Passion of Christ and Handel another for the Resurrection. These gifts were certainly appreciated, since the Pope would raise Ruspoli to the rank of Prince the following year. La Resurrezione was created on April 8, 1708, in the Marquis' residence (the Palazzo Bonelli) where a magnificent theater was installed to accommodate an audience of 1,500 aristocrats and cardinals. At the premiere, the cast surprisingly included a woman in the role of Mary Magdalene, Margherita Durastanti, who was replaced the next day by a countertenor, in accordance with the papal decree prohibiting women from singing in public.

From the opening sonata, the audience appreciates the excellent bass, with a welcome grain. However, the oboe, which begins (fortunately) with a solo, seems in a hurry: at the conductor's gesture of attention, just before the start, the instrumentalist already starts. The tempo taken must be in agreement with that of Ottavio Dantone, because the latter, very professional, does not seem to be frustrated by it, despite a very brief moment of barely visible astonishment. Emöke Baráth's Angel, with a mischievous look, immediately seems at ease in her role and on stage, sensitive to her pretty voice and excellent diction. Already, in her aria “D’amor fu consiglio” (Love’s advice), the Hungarian soprano is enchanting. Dantone’s direction allows for a beautiful cohesion. The orchestra proves itself capable of beautiful phrasing, including bellows effects or studied accents that are always effective but never gratuitously demonstrative.

Lisandro Abadie is a proud and authoritarian Lucifer. His low notes are pretty although the Argentinian singer remains less bass than baritone, a register where his voice is naturally more powerful and more controlled, while retaining the depth of his timbre. The soprano Hasnaa Bennani being declared unwell, she is replaced by the delightful Camille Poul for the role of Mary Magdalene. Her first interventions make her fresh and sensitive timbre heard but she does not seem at first entirely at ease: the high notes launched betray small difficulties and a rather heavy breathing sometimes chops up her speech. But her voice quickly lights up and her interpretation becomes very touching, especially in her aria “Ho un non so che nel cor” (I don’t know what’s in my heart).

Delphine Galou’s deep voice with a very particular timbre is that of Marie Cleofide. Her presence, her smile and her commitment form a sympathetic and touching character, sometimes playing with her hips to accompany her vocalises. However, her projection remains limited, without ever being covered by an attentive orchestra. To be audible in the bass, her voice is detuned, which produces an unusual, even strange effect.

Finally, the Swedish tenor Martin Vanberg is a solar Saint John, sensitive and charming, with a beautiful and homogeneous voice. His first aria “Quando è parto dell’affetto” (When she is born of love) is full of serenity and his intentions are pretty in “Caro figlio, amato Dio” (Dear son, beloved God). It would be a shame to forget “Cosi la tortorella” (Thus the turtledove), accompanied by the lamentations of the traverso, which came to the forefront, and embellished with the striking but subtle effects of the strings’ crescendi on the “vede ch’augel feroce dal nido gli rubò” (taken from the nest by a ferocious bird).

All the soloists come together to sing in chorus the finale “Diasi lode in cielo, in terra, a chi regna in terra, in ciel!” (May he who reigns on earth and in heaven be praised in heaven and on earth!), reprised as an encore after the encore by an absolutely delighted audience.