Mar. 29, 2004. 07:32 AM
Rinaldo wows on
many fronts
GEOFF CHAPMAN
MUSIC CRITIC
When first performed, Handel’s early 18th
century opera Rinaldo required a fiery chariot, black clouds, a boat, a
hermit’s cave, an enchanted palace, "fatal" wand weapons, "ugly
spirits" and loads of sorcery.
Such props and special effects are somewhat
beyond the mandate of Toronto’s Opera In Concert, but there’s no doubt this
organization knows how to make its own magic, opera that’s up close and
personal.
As evidence, look no further than yesterday’s
feast of bountiful bel canto singing that came in the season-ending production
of the early Handel hit, which, like last season’s acclaimed performance of
Rameau’s Castor et Pollux, is destined to become a CD on the Naxos
label.
Backing youthful, vibrant singers for the Rameau
was the Aradia Ensemble on baroque instruments conducted by Kevin Mallon and
that was so this weekend for the two Rinaldo presentations. The
17-strong group impressed, despite an early flub or two, deftly handling a
score full of challenging effervescent rhythms that on occasion demanded solo
playing to accompany lengthy coloratura passages in a succession of flowery da
capo arias. Kudos to cellist Katie Reitman, oboist Kathryn Montoya and Paul
Jenkins on harpsichord.
Vocal fireworks were lit by more than one cast
member in a story-cum-fable that’s par for the feudal course. At the core it’s
the mutual desire of soldier-crusader Rinaldo (mezzo Kimberly Barber) and
Almirena (soprano Laura Whalen), daughter of the chief Christian marauder. On
the other side is ruler of Jerusalem Argante (bass-baritone Sean Watson), in
love with enchantress Armida (soprano Barbara Hannigan) whose day job is Queen
of Damascus.
Armida gets her sirens to abduct Almirena, and
a whole lot of dark magic ensues, though the ending is happy, at least for the
Christians. This long presentation, lengthened by constant audience applause,
nonetheless goes by in a trice — using timpani, flute-made bird song, a waft of
silk and little more, the company made the absence of lavish spectacle
irrelevant.
The singing was of a particularly high level,
artists quickly illuminating character as well as the composer’s theatrical
flair and habit of borrowing from earlier creations (there’s even some Messiah
here). Barber’s title role interpretation was strong and absorbing,
particularly refined in lower registers, hypnotically moving in the famed aria
"Cara sposa" while Whalen’s full-voiced sound and impeccable
articulation was effectively projected — her "Lascia ch’io piango"
was superb.
Hannigan with a head of steam up is always
delightful, and her way with the volatile wicked witch part often set pulses
racing, a model of cogent phrasing careering from wide-eyed candour to huskily
intimate. Watson’s stentorian voice, its tones robust and ringing, suited his
role and there’s a new, interesting counter-tenor voice on the scene in Andrew
Pickett (playing Eustazio).
Mar. 25, 2004. 01:00 AM
Kimberly Barber wears the pants
Mezzo sopranos often sing as young men Plays lead
in Opera In Concert Rinaldo
ROBERT CREW
ARTS WRITER
As a mezzo-soprano, Canadian Kimberly Barber
is accustomed to “pant” or “trouser” roles — parts in operas by people such as
Rossini, Mozart and Strauss where the women disguise themselves as young men.
Indeed, such roles can be almost an
occupational hazard for a mezzo.
But Barber welcomes them and is always looking
for ways to make her performances even more authentic.
So when someone came backstage recently after
a rehearsal and told her she put her jacket on like a woman, she decided to put
it to the test.
“A woman picks her jacket up and throws it
around her shoulders then puts her arms in, a man puts his arm in one side then
pulls the jacket around and puts the other arm in,” she was told.
“I had never thought about it before, so I
showed both ways to a couple of guys and asked them to pick.”
They both picked the second way.
“There are always little tricks that you can
learn,” says Barber by phone from Waterloo’s Wilfred Laurier University, where
she teaches.
“I love these roles and feel very much at home
in them. In fact, “ she adds, laughing, “I have kissed more women in operas
than men.”
Young singers can become uncomfortable with
anything that is close to being sexual, particularly between two women, she
says. “When I do acting classes with young singers I tell them to forget who
they are and take the playacting a little further. It is make-believe. The more
discomfort you feel, the more the audience will feel so you have to be as
natural as possible.”
She has just finished one such role, playing
the Composer in Strauss’s Ariadne Auf Naxos for Seattle Opera.
And she is about to embark on another, playing
the crusader Rinaldo in the Opera In Concert production of Handel’s opera of
the same name, which was a major triumph for the composer when it premiered in
London, England in February, 1711.
We are in Palestine in the late 11th century.
Rinaldo is in love with Almirena (played by Laura Whalen) and is fighting
against the Saracens led by Argante (Sean Watson), the ruler of Jerusalem and
lover of the sorceress Armida (Barbara Hannigan).
Armida tries to use her magic against Rinaldo
but ends up falling in love with him.
Kevin Mallon conducts the opera, which
contains such exquisite vocal gems as “Lascia ch’io piango” and “Cara sposa.”
“It is a beautiful piece and I am more and
more captivated by Handel’s melodic and harmonic invention,” Barber says. “He
has such a wonderful sense of drama and emotion.”
Married to a businessman and with two
daughters, aged 12 and 8, Barber is the offspring of an Osgoode Hall law
professor and studied at the University of Toronto. She was a member of the
Canadian Opera Company Ensemble before moving to Europe, where she worked with
the Frankfurt Opera company from 1989 to 1994.
She made her debut in the title role of
Handel’s Xerxes at Seattle Opera and was immediately afterward asked to
sing the same role in a Canadian Opera Company production, winning a 1999 Dora
Award nomination for outstanding female musical performance.
These days, Barber is taking on fewer
out-of-town assignments; she has been away about two months out of the last
six. That and her university teaching mean she is able to spend more time at
home. “It is much better,” she says.
And she is finding teaching surprisingly
rewarding. “I love it,” she says. “I am such a performer.
“I thought I wouldn’t find teaching satisfying
but I get such intense pleasure from seeing growth. It is so exciting to see
the light go on.
“I love sharing what I have gleaned myself and
I learn a tremendous amount too.”