Catherine Martin | Andrew Benson-Wilson : Early Music Reviews +

Handel in Italy
Gabrieli Consort & Players, Paul McCreesh, Gillian Webster
St John’s, Smith Square. 28 March 2017

Corelli: Concerto Grosso in D Op. 6 No. 4; Handel: Donna che in ciel HWV233; Dixit Dominus HWV232

Although, in true British fashion, George Frederic Handel is usually claimed as the quintessential English composer, some of his most exciting music was composed during the four years he spent in Italy (1706-10). Early training seemed to set Handel on course to be an organist and church musician, to the extent that he travelled to Lübeck in 1703 with a view to succeeding the great Buxtehude at the Marienkirche. But three years in Hamburg’s opera world (1703-6) changed that ambition, and resulted in an invitation by a Medici to come to Italy. He was already well-versed in the Italian music through his early training with Zachow in Halle, but his ability to immediately absorb national styles quickly became apparent, as it later did on his arrival in London in 1710. Continue reading →

One of the posh frocks and picnic venues that combine musical excellence with spectacular gardens is Iford Manor, near Bath. This year’s early music offering was Monteverdi’s Il ritorno d’Ulisse in patria performed by the Early Opera Company (2 Aug 2014) in a setting that could not be more Italian. Iford’s Peto Garden is full of Italian references, and the operas take place inside a pastiche 100 year-old Italian cloister – one of the most intimate opera spaces I know.

The 12-strong (and vocally strong) cast was headed by mezzo Rowan Hellier as the complex and emotional confused Penelope with Jonathan McGovern as the returning Ulysses. Penelope’s three suitors were Callum Thorpe, Russell Harcourt and Alexander Robin Baker, with Oliver Mercer as their advocate Eurymachus. Elizabeth Cragg and Annie Gill made fine contributions as Minerva and Melanto, as did Daniel Auchincloss as Eumaeus, here portrayed as a gamekeeper. The Prologue was sensibly omitted, allowing the opening focus to be on Penelope’s grief.

The audience sit within a few feet of the central stage and it is impossible not to feel personally involved in the unfolding drama. It is a real test of the singers’ sense of character and voice to be able to project to such a close audience. Justin Way directed, using Christopher Cowell’s sensible ENO English translation, and an excellent and beautifully lit staging by Kimm Kovac, using imaginative and vaguely modern dress with a hint of the abdication era. Christian Curnyn directed his seven Early Opera Company players from the harpsichord, the violins of Catherine Martin and Oliver Webber being much in evidence.

[https://andrewbensonwilson.org/2015/03/30/ulysses-returns-to-iford/]