Composer: Antonio Vivaldi
Works: Orlando Furioso
Performers: Marilyn Horne (Orlando), Susan Patterson (Angelica), Kathleen Kuhlmann (Alcina), Sandra Walker (Bradamante), Jeffrey Gall (Ruggerio), William Matteuzzi (Medoro), Kevin Langan (Astolfo), Orchestra and Chorus of the San Francisco Opera, Randall Behr
Recording: 1989, San Francisco
Label: ARTHAUS DVD 100210
Antonio Vivaldi, a prolific composer of the Baroque era, is often celebrated for his instrumental works, particularly the concertos that define his legacy. However, his operatic contributions, notably Orlando Furioso, have only recently begun to receive the attention they deserve. This production, originally staged by Pier Luigi Pizzi in Verona in 1979 and later revived in San Francisco in 1989, encapsulates the rich tapestry of Vivaldi’s musical language while grappling with the challenges of operatic storytelling through a somewhat dated visual presentation.
The cast is led by the formidable Marilyn Horne, whose interpretation of Orlando showcases her formidable vocal prowess, even though her stage presence occasionally falters. Horne’s bel canto technique is evident in her expressive phrasing and dynamic control, particularly in the aria “Credete al mio dolore,” where her ability to convey the character’s emotional turmoil is both poignant and compelling. However, one cannot overlook the rigidity of her physical performance, which often detracts from the dramatic intensity of her role. The minimal staging leaves Horne traversing a sparse set, lending an air of awkwardness that fails to align with the opera’s fervent emotional landscape.
Alongside Horne, Susan Patterson shines as Angelica, delivering a performance marked by a smooth and subtle timbre. Her aria “Se non m’ami, non m’ama” is executed with a delicacy that accentuates the character’s vulnerability and desire. Countertenor Jeffrey Gall, in his portrayal of Ruggerio, provides a moving interpretation, particularly in the aria “Sol da te, mio dolce amore,” where the obbligato flute accompaniment weaves a haunting atmosphere that lingers long after the final notes. Kathleen Kuhlmann’s Alcina is equally captivating; her command of the stage and vocal agility in “Vorresti amor da me?” solidify her as a standout performer in this ensemble.
Despite the lackluster staging and uninspired set design, the musical quality of this recording is undeniably strong. The live recording captures the vibrancy of the orchestra, which responds adeptly to Vivaldi’s intricate score, though it does reveal some typical weaknesses associated with live performance, such as audience noise and occasional imbalances. The engineering is competent, allowing the listener to appreciate the nuances of the orchestration, although one might wish for a more polished sound in certain passages.
When compared to other notable recordings of Vivaldi’s operas, this DVD holds its own, particularly given the scarcity of video documentation of his works. The artistry displayed by the cast, especially the vocal performances, serves as a compelling argument for the continued exploration of Vivaldi’s operatic repertoire.
The overall assessment of this production reveals a complex interplay between the exhilarating music of Vivaldi and the constraints of its staging. While the presentation may not fully evoke the fervor of the narrative, the extraordinary musical performances provide an enriching experience that deserves attention, especially for those invested in the revival of Baroque opera.
