Composer: Riccardo Broschi (c. 1701-1756)
Works: “Dall’amor più sventurato” – Orfeo (Porpora), “Ombra fedele anch’io,” “Qual guerriero in campo armato” – Idaspe (Broschi), “Mancare oh Dio mi sento” – Adriano in Siria (Giacomelli), Concerto in C minor (Galluppi), “Oh volesser gli Dei… Dolci freschi aurette” – Polifemo (Porpora), “Or la nube procellosa” (Porpora/Hasse), “Per questo dolce amplesso” – Artaserse (Hasse), “Quell’usignolo” – Merope (Giacomelli)
Performers: Vivica Genaux (mezzo-soprano), Akademie für Alte Musik Berlin, René Jacobs (conductor)
Recording: DDD
Label: Harmonia Mundi SP 068
The release of “Arias for Farinelli” not only shines a spotlight on the often-overlooked Riccardo Broschi, but also serves as a reminder of the rich tapestry of Baroque opera that flourished in the early 18th century. Known primarily as the composer of the famed castrato Farinelli’s repertoire, Broschi’s works are characterized by their lyrical beauty and technical demands, reflecting the era’s penchant for vocal virtuosity. This recording provides an opportunity to reassess and appreciate his contributions alongside contemporaries like Porpora and Giacomelli, whose works populate the program.
Vivica Genaux emerges as a compelling interpreter of this repertoire, her mezzo-soprano voice carrying both the requisite agility and dramatic weight. In “Dall’amor più sventurato,” she showcases her impressive range and dynamic control, executing rapid divisions with precision. Jacobs’s direction elicits a spirited performance from the Akademie für Alte Musik Berlin, whose period instruments provide a vibrant backdrop that enhances the clarity of Genaux’s voice. The orchestration, particularly in the strings, complements the vocal line while allowing the emotional content of the aria to resonate.
The recording quality is exemplary, capturing the warmth and richness of Genaux’s timbre without sacrificing detail in the instrumental accompaniment. The balance between voice and orchestra is judiciously managed, allowing the listener to appreciate the intricate interplay of the melodic lines. In the aria “Ombra fedele anch’io,” the tension between lyrical expression and the demands of the rapid tempo is handled adeptly, with Genaux navigating the wide tessitura with a confidence that recalls the artistry of her mentor, Marilyn Horne.
Jacobs’s interpretation choices often favor a brisk, incisive pacing that propels the music forward, though at times this urgency risks overshadowing the lyrical subtleties inherent in the arias. For instance, in “Qual guerriero in campo armato,” the driving rhythm serves the dramatic intent but may leave listeners yearning for a more nuanced exploration of the text’s emotional depth. Comparatively, Horne’s earlier recordings offered a more expansive approach that allowed for greater interpretative latitude, although Genaux’s technical prowess remains undeniable.
The final moments of this collection, featuring “Quell’usignolo,” encapsulate the essence of Broschi’s melodic charm and the stylistic flourishes that define Baroque opera. Genaux’s ability to convey both the inherent beauty of the music and the character’s emotional journey is a testament to her growing stature as a leading performer in this repertoire.
This recording not only revitalizes interest in Broschi’s work but also solidifies Genaux’s position as a formidable interpreter of Baroque arias. The collaboration with the Akademie für Alte Musik Berlin under Jacobs’s insightful direction results in a vibrant and engaging listening experience that balances historical authenticity with modern vocal artistry. The commitment to period performance practices is evident throughout, making this release a valuable addition to both the Baroque repertoire and Genaux’s discography.
