A Handel in low hours

Tamerlano It is far from being a masterpiece compared to Handel's immediately preceding opera (Giulio Cesare, which will return to the Liceo in a few days). Although there are interesting arias, it does not contain the uniqueness of the previous work.

At this point, René Jacobs no longer has anything to prove to anyone. But on Wednesday night, he looked tired, and with that characteristic gesture of his, he stood before the extraordinary Freiburg Baroque Orchestra without giving the impression that he was fully involved, as he had been on so many other occasions.

This version of Tamerlano The performance was performed with appropriate voices, of which only one stood out, while another should not have been on the stage at the Palau de la Música. The standout was contralto Helena Rasker in the role of Irene: she displayed volume, expressiveness, and musicality. In contrast, tenor Thomas Walker displays a quality but engulfed instrument, occasionally with sounds that are shockingly ugly.

The result? A Handel in a slump, his vocal balance too wavering. Countertenor Paul-Antoine Bénos-Djian's Tamerlano was more than adequate, along with another countertenor, Alexander Chance, who sang Andronico well in the more difficult parts, but with muffled bass and little projection. Katharina Ruckgaber brought to the table a beautiful tone and good taste in the role of Asteria, while Matthias Winckhler's vocal personality was lacking.

The German orchestra, as we've come to expect, and despite Jacobs's poor form, produced a good sound and sinuous, perfectly finished lines. The obligatory parts worked, and we even celebrated the inclusion of the two clarinets in Irene's aria. Happy me, if the dream.

And finally, a reflection and a recommendation: I don't think that it is with these "in concert" versions that the Baroque operas should be disseminated, very long and with their climb of dry recitatives and arias. the boss. Because the operation is weak. And in any case, the solution of placing four sleigh rides on the stage and moving the singers around as if they were performing a staged version results in a messy, in no way conducive to enjoying works of this nature. I would recommend against it. And whoever has ears, let them listen.