The Bach Festival welcomed on Wednesday the countertenor Valer Sabadus, soloist in a concert entrusted to the Montreal ensemble Pallade Musica. The singer made a very strong impression, his performance culminating in the aria “Gelido in ogni vena” from the opera. Farnace by Vivaldi.
Heartbreak evening: how to choose between Marie-Nicole Lemieux’s recital and Valer Sabadus coming to Montreal? Having never heard the latter “in real life”, we chose to go to St. Andrew & St. Paul Church.
For the past ten years, Valer Sabadus has been one of the most important countertenors in Europe. He gives the reply to Philippe Jaroussky and we see him associated with the projects of Christina Pluhar. Here we hardly have the perception of his musical aura, since his recitals are recorded for Sony and they are part of the part of the catalog that the label does not distribute in North America. So you have to go and find on the listening platforms arias by Bach and Telemann, duets with Nuria Rial, arias by Caldara, Glück and a recital of tunes composed for the castrato Farinelli.
Technique accomplished
In concert in Montreal, Sabadus, accompanied by Pallade Musica had chosen a program centered on Handel (airs taken fromAlcina, Serse and Ariodante) with two forays into Vivaldi, one into Caldara and one into Porpora.
More than anything, it is Vivaldi’s “Gelido in ogni vena” (Frozen in every vein) by Vivaldi, popularized by Cecilia Bartoli, that the countertenor left an unforgettable impression, helped in this by a frail accompaniment in volume (10 musicians), but very skilfully measured attentive to the most infinitesimal nuances.
Singing well is not enough; we have to get the message out. The heartbreaking interpretation of this aria Farnace, much more sober and interiorized than Bartoli, was only one of the bowstrings of Valer Sabadus. The countertenor seduced by the elegance of his aria.Alcina, the virtuosity of the vocalizations and the clarity of the highs of “Crude furie” (Serse) just as it revealed a very interesting low-mid register in the tune of theOlympiad by Vivaldi.
Valer Sabadus is more of a worker than a flamboyant Jaroussky. If it shines, it is thanks to a supreme technique with a perfect placement of the voice in the resonators, which allows it roundness and amplitude. Breath management does the rest in terms of phrasing. Sabadus can therefore afford a “Serza infida” by Händel that is fascinating in terms of concentration and breadth.
The performance of Pallade Musica has improved throughout the evening. Correct in Caldara, very honorable in the mid-program Handel, she became notably excellent in Vivaldi. As for the accompaniment of the tunes, Valer Sabadus is undoubtedly a fascinating singer to support, because his inflections are natural, musical and very logical.
Hats off, throughout the evening, to the straight section, the least in value, of the orchestra which, around Elinor Frey on the cello and Mélisande McNabney on the harpsichord, carried out a discreet but delicate work. foolproof musical solidity.