Vivica
Genaux Recital
Salle
Gaveau, Paris
February 2,
2016
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| The stunning Vivica Genaux. Photo credit: Christian Steiner |
Let me introduce myself. Well, maybe later, music
first. Not surprisingly, Paris has an incredibly intense opera scene, which
goes well beyond the world famous Opéra. Less
internationally-known theaters or independent opera companies often offer
high-quality productions of less popular operas in more intimate settings
(which makes these productions a must for opera lovers). Upcoming
not-to-be-missed shows include Mitridate Re di Ponto at the Théâtre des Champs Elysées (under superstar director Emmanuelle Haïm,
which delivered one of this season’s personal favorites, Francesco Cavalli’s Xerse at the Opéra de Lille), and DivinOpera’s production of Offenbach’s La Périchole.
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| Genaux captivates the Salle Gaveau. Photo credit: L'Altro |
The equally intense concert scene this week offered
a superb performance of Vivica Genaux at the Salle Gaveau. The program included Baroque arias expressly written for
Farinelli, the most famous castrato of all time. We all know how demanding
these arias are, and that very few singers today can actually match the score
challenges. Well, no doubt Genaux is one of these singers.
Genaux’s voice is not incredibly big, and her
register is fairly limited. But she is a true master of the art of coloratura
and has always done a great job in choosing a repertoire that perfectly fits
her voice. The concert program included both arie di bravura and lamenti.
Genaux literally nailed all of them, especially in the second half of the show,
when her voice warmed up and the audience was totally at her feet. Genaux’s
coloratura is always extremely fast and precise, and she is able to deliver the
most difficult arias (apparently) without any effort. Genaux strikes a stunningly
elegant figure and has a huge stage presence, which made the public almost
forget that we were listening to a concert (as opposite to a full-staged
performance).
I was particularly impressed by Porpora’s Come
nave in ria tempesta, while my charming companion was more deeply moved by
slower arias such as Porpora’s Alto Giove. It is always a pleasure to
see friends who are not used to going to the opera so deeply touched and
enthusiastic about a performance. This should be the goal of all performances,
and Genaux perfectly reached the goal on Tuesday night!
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| The spirit of Farinelli was invoked throughout the evening. Photo credit: L'Altro |
At the end of the concert’s program, Genaux
delivered two additional virtuoso arias. The first one was a recently re-discovered
aria that Giacomelli composed for Farinelli. I was so excited when I heard how
the aria had been neglected for centuries that I forgot to note down its name (please
forgive me).
The second aria was one of Genaux’s signature
tracks, Vivaldi’s Agitata da due venti. Once again, Genaux’s fireworks and pyrotechnics were impeccable (especially in the
second aria, which Genaux masters like very few other singers in the world). A
true musical orgasm. As soon as the orchestra stopped playing, the audience
tore down the house, with an enthusiasm that I have rarely heard in a
solo-concert (this was even more surprising considering the relatively-advanced
average age of the audience).
Right after the show, an ever-smiling Genaux joined
the super enthusiastic audience in the foyer, to take pictures with the fans and
sign copies of her bestselling albums. (I have to admit that I re-bought her
stunning Arias for Farinelli
just to have it signed.) I like her even more for her non-diva and smiley attitude.
Quite surprisingly, a good number of superb mezzos specialized in the baroque
repertoire (including personal favorites Joyce DiDonato and Ann Hallenberg)
have the same positive and friendly approach to their public.
Genaux was superbly accompanied by Les Musiciens du
Louvre, an ensemble that commands the baroque repertoire like few other
orchestras in Europe (and, likely, the world). I do not know how many times Genaux
and the orchestra actually rehearsed, but they definitely gave the impression
of having worked together for years, being in perfect synchronization piece
after piece. Les Musiciens du Louvre also gave moving performances of Vivaldi’s
Concerto for 2 Violins and Cello in G minor, RV 578A and Hasses’ Fuga
e Grave in G minor.
I almost forgot to introduce myself. I am a close friends
with Lui and Lei, with whom I share a deep passion for bel canto. Musically trained in La Scala’s unforgiving Loggione,
I spent the last two years around the Met and New York’s hipster independent
opera companies. Currently based in Paris, I am always looking for great
performances all across Europe. Ad maiora!
– L’Altro
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| Vivica on tour with Les Musiciens du Louvre. Photo credit: Laurent Barbotin |
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