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H&H’S ARIODANTE
IT WASN’T NOTHING


Christopher Hogwood, Handel & Haydn Society’s conductor laureate, returned to Symphony Hall to lead Ariodante, one of Handel’s three masterpieces of Italian opera based on stories of knightly courtesy from Ariosto’s 16th-century epic romance, Orlando furioso. It’s probably the least known of the three, though there are impressive recordings with Janet Baker, Lorraine Hunt Lieberson, and Anne Sofie von Otter singing the title role of the foreign prince who has won the heart of the Scottish princess Ginevra and the blessing of the Scottish king.

That’s where the opera begins. But the ambitious Duke of Albany throws a monkey wrench into the works. He also loves Ginevra, and her lady-in-waiting, Dalinda, is in love with him (as Ariodante’s brother is in love with her). He gets Dalinda to dress in Ginevra’s clothes and let him into her room as Ariodante watches, thinking his beloved Ginevra is betraying him. That’s the point at which Ariodante sings one of Handel’s most gorgeous arias, "Scherza infida" ("Play around, faithless woman, in the arms of your lover"). He attempts suicide, and Ginevra, accused of being a harlot, collapses. Eventually the villain is killed and the true lovers are reunited — all in three and a half hours of irresistible music.

H&H assembled a strong cast and had everybody in almost-costume (the women playing male roles wore pants; happy Ginevra wore a gold dress and stole, sad Ginevra returned in black). William Gustafson was credited as "stage consultant," which I take to mean director. The singers learned their parts by heart and moved freely around the stage. It’s amazing how this helped hold the audience’s attention, much more than the projected supertitles.

Soprano Amy Burton was an endearing and animated Ginevra, quite the most accomplished actor, and singing with more color than I remember from her appearance in Handel’s Xerxes with Boston Lyric Opera in 1996. Beth Clayton was an admirable Ariodante — her voice has real warmth and she can toss off coloratura fireworks. Her "Scherza infida," with her back literally to the wall, was extremely affecting — though she wasn’t remotely as imaginative as Anne Sofie von Otter was in this aria at Jordan Hall earlier this month, with conductor Marc Minkowski’s startling contrasts of tempo and dynamics making an invaluable difference. The best that can be said for Hogwood’s straightforward plugging along is that, at least in the very best music, it didn’t get in the way.

Boston soprano Kendra Colton, in her H&H debut, was an enchanting and touching Dalinda, and in glittering voice. Singing the complex Merab in Emmanuel Music’s spectacular Saul the week before obviously didn’t hurt. Young tenor Jeffrey Thompson had a sweet voice and an uninhibited stage presence as Ariodante’s brother. Canadian mezzo Rosemarie van der Hooft swaggered like Mick Jagger as the villainous Duke, but her voice didn’t project very deeply (or accurately) into Symphony Hall. Bass Curtis Streetman’s resonant voice was too stiff for the King of Scotland’s demanding coloratura, and his acting was even stiffer. Catherine Turacy and David Rodriguez were just a tad precious in the Baroque dancing Handel weaves into the action. But the Baroque orchestra, down to the natural horns, was in tiptop form. This wasn’t on the high level of Saul, but it wasn’t nothing.

BY LLOYD SCHWARTZ

Issue Date: April 25 - May 2, 2002
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