The classic year 2024 begins in theaters this weekend with the serenade Aci, Galatea and Polifemo by Händel proposed by Arion, who invited the harpsichordist and conductor Francesco Corti for this. The result far surpasses all expectations, both from the point of view of the work, little known but admirable, as well as the production.
If you have the courage to brave the snow this Saturday at 4 p.m. or if you are looking for an outing on Sunday at 2 p.m., honor Arion’s great programmatic idea at the start of the year. This Aci, Galatea and Polifemo is a gem. Neapolitan serenade with three characters, composed on a libretto by Nicola Giuvo in 1708 for the wedding of the Duke of Alvito, this variation of the myth inspired by Metamorphoses of Ovid should not be confused with the famous mask Acis and Galatea London of 1718 on a libretto by John Gay. The two works do not overlap. It is Acis and Galatea which takes all the light, because it was the most executed work of Handel’s lifetime and the one which, with The Messiah, remained constantly in the repertoire after his death. The fact that the composer himself had turned away from his Italian serenade sealed its fate and posterity. Wrongly, as Friday evening proved to us.
Happy omens
The strangeness of this serenade is that the male role of the shepherd Acis is played by a soprano, the nereid Galatea being a contralto. The musical particularity lies in the vocal demands placed on the Cyclops Polyphemus, a bass, but having to cover an enormous register, notably in an aria “ Fra l’ombre et gl’orrori » of a paralyzing beauty.
Usually, pastorals are “silly” and insignificant works, whose sole purpose was to serve as musical distractions. But Aci, Galatea and Polifemo, like a happy omen, contains a concentrate of the great Händel. For example, the air where Acis bleeds (” Back to the alma “) contains both the best of Italian influence and anticipates its great later inspirations.
We will especially note, and Francesco Corti puts his finger on it each time, to what extent the composer adapts the instrumental color to the description or emotion: virtuoso air of Acis “ Che non puo la gelosia » with oboe or sumptuous soprano-harpsichord duet in « « D’acquila l’artigli » ; savagery of the bass strings on the “ Ungrateful » by Polyphemus. The direction of the Italian conductor does not take too many gloves with the singers: he pushes the nuances that he considers necessary for the orchestra, even if it involves saturating the colors.
Fortunately, the assembled vocal trio is exceptional and seems foolproof. For a singer with a cold, Lisandro Abadie embodies Polyphemus with impressive authority and subtly escapes the traps of steep writing. Kateryna Kasper shines with a voice placement of rare perfection, which allows her a clear and impressively effective vocal delivery. His duets with Margherita Maria Sala are admirably complementary, the contralto shining with its authority and well-established bass. His air S’agita in mezzo all’onde » is a great moment.
Such a lyrical evening, so concentrated, so judicious, so well played, by a coherent, fair and in great form orchestra was reminiscent of the beautiful hours offered by Les Violons du Roy and deserved the Maison symphonique and a large audience to match .
One day we will still have to be able to ensure that it is quality and audacity, and not bling-bling, bla-bla, buzz-buzz, clicks-clicks and the quality of connections. from this or that public relations agency that fills the rooms.