'Artaserse' was Leonardo Vinci's (no relation whatsoever to the famous artist) last opera, and not only his most popular and frequently performed at the time but considered to be his masterpiece.
Sadly, 'Artaserse' is also a work that has fallen into obscurity over time. Hearing it through this production, this reviewer could totally see why it was so popular, the story is intense, intricate and remarkably complex for a baroque/early music opera, while never static or dull, it's incredibly rich and complex in characterisation and always in a way that one is always sympathetic to the characters' plights and the music throughout is gorgeous.
So the obscurity and that it's rarely performed now is not because 'Artaserse' is a bad opera, to me it's actually a masterwork and compares extremely favourably with operas from the baroque/early music period. Much of it is to do with things that are very common in other rarely performed operas, it's difficult to stage with the many conflicts and keeping the drama alive and never static and also more importantly it's very difficult to perform and sing, with the need of five Castrato voice/counter-tenors and one tenor requiring huge emotional and vocal range, great virtuoso control and extensive Tessituras.
While it can be as modern, or a concept production to be more accurate, this performance manages to be a magnificent revival. For anybody wanting to see or hear 'Artaserse', wanting to know what the fuss is all about, this couldn't be a more perfect introduction to it. It is a very visually beautiful production, with colourful and elaborate costumes, sumptuously bright colours, exaggerated but ornate attention to detail, simply but elegant painterly sets, atmospheric lighting and inventive use of mirrors. While some may find the make-up over-the-top and distracting, neither were the case with me who found the approach well-suited to the play-in-a-play concept. The DVD does it justice just fine, with the video directing keeping the action alive but also intimate, clear and always focused picture quality and very natural sound.
The staging not only maintains interest throughout, but also enthrals and moves in all the best ways. There is always the trouble of how to keep the drama lively and compelling, rather than being static or bogged down in trying to do too much. The production rises to the challenge brilliantly, the theatrical play-in-a-play concept feels like it is there for a reason and a clear one and never feels gimmicky. The storytelling is always clear, intense and moving, and the characters are released in a way that one is sympathetic to their conflicts rather than their conflicts being portrayed as over-the-top and soap-opera-like. Nothing here feels incoherent, unnecessary, static, irrelevant, anachronistic or overly-busy, and the concept actually feels like something was done with it and in an interesting way.
Musically, it's phenomenal. There is a real historically-informed (rather than authentic) feel to the orchestral playing, done on period instruments, with their playing being ravishing and alive to verve and nuance. Conducting from the harpsichord (not an uncommon practise in early music), Diego Fasolis conducts with meticulous finesse, an accommodating air and a constant firm grip on the drama, nothing is taken too fast, too slowly, too subdued or too heavy-handedly, it's just right.
Philippe Jaroussky's role is not as flamboyant as the rest of the roles, and calls for a lot of lyricism, but in no way is he dull or deserving to be overshadowed. His tone gleams effortlessly throughout the entire voice, and used with flexibility and depth, while he characterises with expressiveness and regal dignity. Every bit as outstanding, and perhaps even more so, is Franco Fagioli's Arbace, a voice of tremendous beauty and agility and the character's conflicts are characterised with frightening intensity and heart-wrenching poignancy.
Max Emanuel Cencic gives a sensitive and deeply felt portrayal in the skirt-role of Mandane. Valer Barna Sabadus's Semira is impeccable and one of the many highlights of the second act, one really sympathises with the struggles that poor Semira suffers in Act 2. Yuriy Mynenko has some glowing creams to his voice and a top that's not at all inappropriately metallic (at times), he is a suave and suitably scheming actor too. Juan Sancho shows few if any signs of being over-parted by Artabano's punishingly high Tessitura, and while it is easy to see Artabano as a villain it is more the tormented villain rather than one with no redeeming qualities like Iago from 'Otello', Sancho brings this distinction very effectively, with menace, authority but sometimes a noble dignity too.
Overall, magnificent performance. 'Artaserse' is an example of baroque/early music opera at its best, and this performance could not be a more ideal way of getting acquainted with it. 10/10 Bethany Cox
Sadly, 'Artaserse' is also a work that has fallen into obscurity over time. Hearing it through this production, this reviewer could totally see why it was so popular, the story is intense, intricate and remarkably complex for a baroque/early music opera, while never static or dull, it's incredibly rich and complex in characterisation and always in a way that one is always sympathetic to the characters' plights and the music throughout is gorgeous.
So the obscurity and that it's rarely performed now is not because 'Artaserse' is a bad opera, to me it's actually a masterwork and compares extremely favourably with operas from the baroque/early music period. Much of it is to do with things that are very common in other rarely performed operas, it's difficult to stage with the many conflicts and keeping the drama alive and never static and also more importantly it's very difficult to perform and sing, with the need of five Castrato voice/counter-tenors and one tenor requiring huge emotional and vocal range, great virtuoso control and extensive Tessituras.
While it can be as modern, or a concept production to be more accurate, this performance manages to be a magnificent revival. For anybody wanting to see or hear 'Artaserse', wanting to know what the fuss is all about, this couldn't be a more perfect introduction to it. It is a very visually beautiful production, with colourful and elaborate costumes, sumptuously bright colours, exaggerated but ornate attention to detail, simply but elegant painterly sets, atmospheric lighting and inventive use of mirrors. While some may find the make-up over-the-top and distracting, neither were the case with me who found the approach well-suited to the play-in-a-play concept. The DVD does it justice just fine, with the video directing keeping the action alive but also intimate, clear and always focused picture quality and very natural sound.
The staging not only maintains interest throughout, but also enthrals and moves in all the best ways. There is always the trouble of how to keep the drama lively and compelling, rather than being static or bogged down in trying to do too much. The production rises to the challenge brilliantly, the theatrical play-in-a-play concept feels like it is there for a reason and a clear one and never feels gimmicky. The storytelling is always clear, intense and moving, and the characters are released in a way that one is sympathetic to their conflicts rather than their conflicts being portrayed as over-the-top and soap-opera-like. Nothing here feels incoherent, unnecessary, static, irrelevant, anachronistic or overly-busy, and the concept actually feels like something was done with it and in an interesting way.
Musically, it's phenomenal. There is a real historically-informed (rather than authentic) feel to the orchestral playing, done on period instruments, with their playing being ravishing and alive to verve and nuance. Conducting from the harpsichord (not an uncommon practise in early music), Diego Fasolis conducts with meticulous finesse, an accommodating air and a constant firm grip on the drama, nothing is taken too fast, too slowly, too subdued or too heavy-handedly, it's just right.
Philippe Jaroussky's role is not as flamboyant as the rest of the roles, and calls for a lot of lyricism, but in no way is he dull or deserving to be overshadowed. His tone gleams effortlessly throughout the entire voice, and used with flexibility and depth, while he characterises with expressiveness and regal dignity. Every bit as outstanding, and perhaps even more so, is Franco Fagioli's Arbace, a voice of tremendous beauty and agility and the character's conflicts are characterised with frightening intensity and heart-wrenching poignancy.
Max Emanuel Cencic gives a sensitive and deeply felt portrayal in the skirt-role of Mandane. Valer Barna Sabadus's Semira is impeccable and one of the many highlights of the second act, one really sympathises with the struggles that poor Semira suffers in Act 2. Yuriy Mynenko has some glowing creams to his voice and a top that's not at all inappropriately metallic (at times), he is a suave and suitably scheming actor too. Juan Sancho shows few if any signs of being over-parted by Artabano's punishingly high Tessitura, and while it is easy to see Artabano as a villain it is more the tormented villain rather than one with no redeeming qualities like Iago from 'Otello', Sancho brings this distinction very effectively, with menace, authority but sometimes a noble dignity too.
Overall, magnificent performance. 'Artaserse' is an example of baroque/early music opera at its best, and this performance could not be a more ideal way of getting acquainted with it. 10/10 Bethany Cox
