Landi: Sant' Alessio [DVD]

Musically this is a difficult work to critique. Written by the Roman composer Stefano Landi (1590 - 1655) a younger contemporary of Monteverdi (1567 - 1643) it is at once luxuriant musically, containing a wealth of musical forms (madrigal, ciaccona, aire (with solo and orchestral accompaniment) , recitativi, choral ensembles, and various orchestral musical styles), yet it is also at the same time austere melodically and harmonically. It does not have the harmonic richness or the avant'garde quality of Monteverdi. As a whole it gives a first impression as being one long lament in the style of the Lamentations of Holy Week. On further detailed study its richness of form and expression become apparent.
The all male cast is excellent both in its highly articulated singing and in its acting and dancing, which is greatly influenced by both Baroque stylistic gesturing and Japanese Kabuki theatre style. Philippe Jaroussky is particularly exquiste. It seems as if the music and the singing have actually transformed him, or that he has transformed himself into an ageless angelic being!
Visually the production is splendid. The costumes are extremely beautiful and convey a sense of luxury and refinement, while the wooden mono-set, which opens and closes to create the varied scenes is also at once austere and yet beautiful and refined, and together with the all candle-light lighting, they convey in an excellent way, the paradox of luxury and austerity inherent in this work.
This thematic paradox of luxury and austerity is in a way the perfect metaphor for the Saint's life, who through austere renunciation achieves the luxury of Paradise.
The work will be difficult for anyone not familar with Monteverdi or Early Baroque and Renaissance music, but if taken in small pieces by the first time musical novice, it will reveal beauties and stimulate your meditative thought. Very interesting and finely executed but a difficult work at first shot.
A final curiosity: the libretto was written by Giulio Rospigliosi who later became Pope Clement IX.

Rarely have I waited so anxiously the arrival of any opera on DVD. Through the wonders of technology I watched this performance performance from the Théâtre de Caen live from my home in Portland, Maine.

Beginning with an absolutely gorgeous Sinfonia and flowing through three powerful, entertaining thought provoking and often moving acts, I can't imagine this opera not capturing both the attention and heart of baroque music lovers and opera fans, at least some opera fans!).

I have been a fan of Philippe Jaroussky since his bursting onto the baroque scene a few years ago, yet somehow this was my first opportunity to experience him in a complete role. Sold. We're seeing a differentiation between male treble singers these days: For instance in comparing the sound of David Daniels to Jaroussky, I would think Daniels to be something akin to a "heldencountertenor" - while Jaroussky's is naturally higher lying, with a more feminine and sweeter presence to it. In this very authentic looking stylized era (and Noh) inspired production, young Mr. Jaroussky's movements, facial expressions, and voice all coalesce into a powerful, genuinely moving portrayal of Alessio. I was particularly touched by the big Act I scene "under the stairs" of his father's home. Watching Jaroussky's arm movements one can't help draw the conclusion he'd watched a lot of Kathleen Battle and Maria Callas videos for he has the business down quite effectively. Some may find it artificial but "art" is part of "artificial, and I, for one, loved it.

Musically, one needs hear only a little bit of his music to realize Landi - was a contemporary of Monteverdi. I have to wonder, therefore, was the older composer (Monteverdi) familiar with Landi's "Alessio" as the scene between Ulisse and his son Telemaco bears a strong musical and dramatic parallel to Landi's scene between Alessio and his father, Euphemianus, composed at least ten years before Ulisse.

In the aforementioned scene Alain Buet's as Euphemianus is vocally a tad on the dry side, yet through phrasing and mastery of the style brings a formidable, strong reading and characterization.

The brilliance of Landi's creation (aside from the mouthwateringly beautiful score) is his pacing of dramatic scenes. The aforementioned scene of Alessio's "revelation" - a moving, deep contemplation/epiphany of being earthbound while desirous of heavenly flight, is immediately followed by two vain dandy-ish characters of the commedia del' arte type. They deliver a bawdy, delightful ditty about the joys of sloth-like behaviour moving on to torment the poor, dour Alessio. At one point they even sing nonsense syllables in such a happy refrain that I nearly joined in.

It was fascinating to experience an all male opera that isn't Billy Budd - especially one that has the then traditional gender-bending spectacle of males singing the parts of women. While I've seen this "experiment" in Shakespearean theatre, I've never seen "serious" operatic roles done in this manner, usually falling more into the Arnalta ("Poppea") type of slapstick "I'm a big man playin' a lady" played with a rather broad (pardon the pun) humor. There is an ensemble with the ladies in Alessio's life: wife, mother and nurse that is one of the most beautiful "stand out" moments of the entire opera. I rewound and played that number, again, shaking my head at the sheer beauty,
the depth of emotion with which Landi infused this moment. Additionally, their voices fuse gloriously - with an odd matching up of virbratos which has a power all its own. .

Landi gives the chorus glorious music and Christy's "minstrels" launch into it with a sense of elation and joy. The choral music is unique here in this style of music and at one point reminded me of Peter Grimes, Turandot or Porgy and Bess, so important and integral are they to the goings on. I loved the madrigal-like aspect of some of the writing for them, the raucous circus/carnival act ending dance (beautifully sans voices) as the stage is flooded in a riotous eruption of joyous emotion.

William Christie and his band give a predictably brilliant and buoyant reading of the score, elegant when necessary and "down and dirty" in its bawdier moments. Benjamin Lazar's actual-era inspired physical production matched the musical qualities of the opera note-for-note, right down to having the set lit by candles - a very warming and welcoming touch.

How wonderful to be living in these often depressing times, and witness the rediscovery of brilliant works of art! I am ever grateful for the work Bill Christie is doing to unearth, promote and help revitalize our musical culture.

Bravo to everyone involved in this very special project and I hope it inspires more audiences, more musicians, and more good will - this DVD should prove as good a starting point as any! Bravissimo!

I entirely agree with the previous reviewers. This production is in every way absolutely sublime. Even if you do not like Early Baroque/ Renaissance music ...give this a try and you will be transported into a new realm of wonder and delight

I have very little time to write reviews and so rarely do so but this has compelled me to recommend it to every lover of the purity of the treble and counter tenor voice especially in a production that surpasses every superlative.

This is the warning. The voices have a powerful addictive quality, especially those of Philippe Jaroussky and Terry Wey whose voice continues to be nothing but perfection .....BUT there is nothing else on DV available like it!!! Search as you may you will not yet find anything to compare with this outstanding production.

Terry Wey as a Treble in the Vienna Boys Choir was fantastic and as a counter tenor he is equally brilliant BUT again the recordings that are available of him are all too illusive!!!