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| Jacqueline Stucker |
Historical past’s Lovers: Telemann: Overture-Suite: Burlesque de Quixotte, Handel: arias from Alcina, & Rodelinda, Concerto Grosso in F op. 6 No. 9, Telemann: aria from Orpheus; Jacqueline Stucker, La Nuova Musica, David Bates; Wigmore Corridor
Reviewed 28 Might 2025
Love, from the comedian to the obsessive to the dedicated to actual vengeance. Handel and Telemann introduced vividly alive in a night that rose far above a biggest hits live performance and gave us one thing memorable
Below the title Historical past’s Lovers, David Bates and La Nuova Musica have been joined by soprano Jacqueline Stucker at Wigmore Corridor on 28 Might 2025 for a night of music by Handel and Telemann, associates in addition to contemporaries, which moved from the comedian in Telemann’s Don Quixote to the obsessive with Handel’s Alcina after which the devotedly marital with Handel’s Rodelinda with an aria from Telemann’s Orpheus bringing issues to a virtuoso shut.
We started with Telemann’s late Overture-Suite: Burlesque de Quixotte which was most likely written round 1761 when the composer was 80. In eight French-style actions, the suite started with an overture that basically did channel Lully, with Bates and his ensemble giving us vivid rhythms and thrilling passagework. The story then unfolded with Quixote’s stressed, fevered sleep, his quick and livid assault on the windmills, a mild flute (Leo Duarte who was doubling flute and oboe) over sighing strings for Quixote mooning after Dulcinea, tossing Sancho Panza in a blanket with some nice scene portray, after which the 2 making an attempt to gallop away in what was a pure romp earlier than lastly a vividly pressing end.
Soprano Jacqueline Stucker then joined the ensemble for a choice of arias from Handel’s Alcina . ‘Di’ cor mio, quanto t’amai’ was fantastically poised with an fascinating depth to Stucker’s tone and a fluid ease with the ornamentation. Although this was only a live performance it felt as if Stucker had stage expertise within the function and her Alcina was vividly realised. ‘Ah, mio cor’ started with a beautiful messa di voce, and an actual sense of the character’s internal ache. Each arias had admirably sturdy contributions from Bates and the ensemble, and in ‘Ah, mio cor’ each they and Stucker actually ratcheted up the stress.
We continued with Alcina, however for ‘Mi lusinga il dolce affetto’ there was a change of soloist as Leo Duarte’s oboe took the highlight as a substitute of a soprano. The outcome was impressively expressive, with Duarte combining full tone with a beautiful readability of expression. Stucker returned for the accompanied recitative ‘Ah! Ruggiero crudel’ and the next aria, ‘Ombre pallida’. Right here, Stucker’s efficiency made you realise how finely lived-in her interpretation was, with concerted energy and stressed emotion within the recitative, and an actual chew to her tone within the aria. I used to be impressed by the way in which that she by no means disturbed the vocal line for dramatic impact, it was at all times finished via the music.
The second half started with the overture to Handel’s Rodelinda, transferring from grand severity to quick intense passagework to an elegantly swaying minuet. In Rodelinda’s aria ‘Ritorna, o caro e dolce mio tesoro’, Stucker was properly contained, spinning a superb line over the wealthy accompaniment. Then in ‘Se’l mio duol non è si forte’ she urged the power inside Rodelinda’s fragility, this was highly effective stuff certainly aided and abetted by Inga Maria Klaucke’s superb bassoon.
We then turned to certainly one of Handel’s Concerti Grossi Op.6, certainly one of his main instrumental works. Right here was had No. 9 in F, the place Handel’s shamelessly recycles current materials but creates one thing new and magical. A powerful, rich-toned Largo was adopted by a vivid but brisk Allegro the place the performers sheer enjoyment was palpable. There was a pleasant lyrical sway to the Larghetto third motion, with its Q&A between soli and tutti. The next Allegro was remarkably perky and this temper continued within the distinctly characterful minuet, earlier than the infectious power and bounce to the ultimate Gigue.
The live performance ended with an aria from Telemann’s 1726 opera Orpheus, this for the additional character of Orasia, a terrific vengeance aria, ‘Su, mio core, a la vendetta’, all bravura and upfront power. Terrific stuff.
We returned to Handel’s Alcina for one final time with the encore, the primary part of Alcina’s last aria.
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