Orlando Furioso, Barbican Hall | reviews, news & interviews
Orlando Furioso, Barbican Hall
Orlando Furioso, Barbican Hall
Slightly second-rate Vivaldi given a slightly second-rate performance
Saturday, 26 March 2011
Jean-Christophe Spinosi: Fails to translate the excitement of the recording studio to the concert hall
Ariosto’s epic poem Orlando Furioso has yielded more than its fair share of operatic spin-offs. Inspiring three operas apiece from both Handel and Vivaldi, as well as works from Lully, Haydn, Caccini and Rameau, its vivid stories of love, magic and revenge were plundered freely by composers for the better part of two centuries. It’s a rich seam of works, and one the Barbican is celebrating with a triptych of concerts. We’ve already had an exceptional Alcina from Minkowski and Les Musiciens du Louvre, and Il Complesso Barocco will present Ariodante in May, but last night it was the turn of Jean-Christophe Spinosi and Ensemble Matheus with Vivaldi’s Orlando Furioso.
Ariosto’s epic poem Orlando Furioso has yielded more than its fair share of operatic spin-offs. Inspiring three operas apiece from both Handel and Vivaldi, as well as works from Lully, Haydn, Caccini and Rameau, its vivid stories of love, magic and revenge were plundered freely by composers for the better part of two centuries. It’s a rich seam of works, and one the Barbican is celebrating with a triptych of concerts. We’ve already had an exceptional Alcina from Minkowski and Les Musiciens du Louvre, and Il Complesso Barocco will present Ariodante in May, but last night it was the turn of Jean-Christophe Spinosi and Ensemble Matheus with Vivaldi’s Orlando Furioso.
The evening was made suddenly and gloriously worthwhile by a single aria: Ruggiero’s “Sol da te”
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"the first major American