...I'd think twice before sharing a stage or a CD with Sandrine Piau. She's too good. She makes "it" sound effortless, and that of course is what makes her so good. In this performance of Handel's first opera in Italy, Piau outshines four of the most skillful women stars in the heavens of Baroque music - Gloria Banditelli, Elena Cecchi Fedi, Caterina Calvi, and Roberta Invernizzi. It helps, one must acknowledge, that the arias assigned to `Esilena' - Piau's role - are the loveliest and most virtuosic of the piece. Esilena's aria at the end of Act 1 - Per dar pregio all'amor mio - with pyrotechnic violin obbligato, should be imprinted on titanium and launched in the the next intergalactic probe, to give evidence that we homosaps were not such a crude, clumsy species, despite our propensity to foul our planet.
Rodrigo was first performed in Florence in 1707. It was not Handel's first opera; he had composed at least two for the stage in Hamburg and, with his usual economy, he recycled several arias from those works for his Italian debut. If Rodrigo has a weakness, it's that there's too much recitativo, too many words to tell its convoluted story of betrayal, jealousy, and vengeance. Actually, the verse libretto by Francesco Silvani is highly refined poetry, worth reading In Italian if you can, but it was clearly too `explicit' for the operatic stage. Handel cut portions of it before the premiere and again before the second performance, and Alan Curtis has cut even more of it in his reconstruction for this recording. The cut portions of Silvani's text are included with this performance, printed in italics. One previous reviewer, obviously not a true Baroquenik, has citicized the inclusion of any recitativo at all. That wouldn't please me; recitativo is beautiful in its own manner, and is necessary in this opera to set the table for the highly-flavored dishes called arias.
The young German composer was obviously sensitive to the new aesthetic fashions of his aristocratic/intellectual patrons in Rome and Florence, an aesthetic that called for purity of genre. Unlike most stage works of the previous century, Rodrigo is all "opera seria", with no hint of commedia. The older Apollonian detachment from human frailties -- as shown in Monteverdi's Poppea, for instance -- is replaced by Dionysian passion and immediacy. Jealousy is not to be exhibited here, but to be experienced. There is no prologue on Olympus, and no deities intervene in Handel's human drama.
As the announcers say in baseball, when a pitcher dominates a hitter, Alan Curtis has "ownage" on Handel's operas. His are the reconstructed performing scores used by most ensembles, and his are the reigning conceptions of the music. His ensemble, Il Complesso Barocco, is unmatched in consistent instrumental polish. My only wish would be that more of Curtis's Handel were available on DVD as fully staged performances. As it is, Curtis's opera CDs are among the very few that I would choose to hear only, in preference to DVDs of stagings by other conductors.
This recording has been reissued in the Brilliant Classics bargain box of recordings by Il Complesso Barocco. The other five operas in the box are:
RADAMISTO - 3 CDs 2005, with Zachary Stains, Dominique Labelle, Joyce DiDonato
ADMETO - 3 CDs 1978, with René Jacobs, James Bowman, Max von Egmond
FERNANDO - 2 CDs 2007, with Lawrence Zazzo, Max Cencic, Antonio Abete
ARMINIO - 2 CDs 2001, with Vivica Genoux, Dominique Labelle, Riccardo Ristori
DEIDAMIA - 3 CDs 2003, with Simone Kermes, Anna Bonitatibus, Furio Zanassi