Friday, 14 June 2019

Mercadante - Didone Abbandonata (Innsbruck, 2018)

Saverio Mercadante - Didone Abbandonata

Innsbruck Festival of Early Music, 2018

Alessandro De Marchi, Jürgen Flimm, Viktorija Miškūnaitė, Katrin Wundsam, Emilie Renard, Carlo Vincenzo Allemano, Diego Godoy, Pietro Di Bianco

Naxos - Blu-ray

The idea of a 19th century composer working with a very old Pietro Metastasio text set by many baroque composers is an intriguing one. A composer like Verdi however was keen put some distance between the indulgences of a bel canto era which was still indebted to its 18th century past, beyond even Rossini, the most progressive composer of that era. Somewhere in there however, largely overlooked and unjustly neglected is Saverio Mercadante, and yet it is in Mercadante and particularly in a work like Didone Abbandonata, that you can definitely see the building of the bridge that Verdi was later able to cross to take Italian opera decisively into the new century.

That connection between Verdi and Mercadante might be more evident in a later work like Il Bravo, seen recently at Wexford Festival Opera (one of the few champions of Mercadante in the opera world), but Didone Abbandonata from 1823 opens up a whole new way of viewing his place in Italian opera. Taken up by the Innsbruck Festival of Early Music with a care towards historically-informed period instruments and performance - which means tuning down from the 20th century standard - this production aims to give the work an authenticity of sound that has done much in the past to present Handel and other baroque works in a new light.

So to return to that initial thought - how would early 19th century opera working with a Metastasio libretto sound? Well in fairness it sounds a lot like Donizetti; constrained to a certain extent by a structure dictated by Metastasio's libretto towards a standard cavatina, aria and recitative arrangement. Mercadante never lets that get in the way of creativity however, the libretto reworked by Andrea Leone Tottola, finding lovely settings for cavatinas, duets, trios and choruses that place his own stamp on the work. That character is more evident here since the period instruments unquestionably give prominence and space for the voice to be much more expressive.

In Didone Abbandonata, the focus in the cavatinas and duets is on expression rather than ornamentation and there's rather unusually only one brief aria in the whole first half of the opera and it's Araspe, a secondary character, who sings it. In Act II likewise the few brief arias are little more than minor adornments. It's perhaps a bit much then to expect Mercadante to be able to provide a profound examination of human feelings and situations when tied to 18th century operatic mannerisms, improbable twists and lack of naturalism in situations, but dispensing with the longeurs of the da capo, Mercadante drives everything purposefully towards showpiece rondos and the finales at the end of each of the two acts.

Fundamentally, Didone Abbandonata relies - as it did with Purcell in Dido and Aeneas and as it would also with Berlioz in Les Troyens à Carthage - on the human tragedy of a woman's deep love, hopes and fidelity all dashed by a lover's desertion. It's not so much that Dido feels betrayed by Aeneas choosing the duty over love - she's not the first woman and won't be the last one in opera to suffer that fate - as much as it does touch on a deeper psychological experience (one that Dmitri Tcherniakov alluded to a little heavy-handedly in his recent Paris production of Berlioz's Les Troyens) where human sentiments are crushed by a rush towards fate, the will of the gods or whatever you want to call the hand of history.

Mercadante does his bit to create that essential tragedy, but there remains the challenge of finding a suitable stage representation that suits the subject and the musical treatment. Director Jürgen Flimm attempts a kind of half-way house between early 18th century in the military costumes and modern in some of the props - a cement mixer, a fridge, guns, bullet-proof vests - on a rotating stage with a concrete bunker at one corner. There's little that points to the ancient legend, Aeneas even appearing to be preparing for his departure in a canoe with some travelling cases, but yet there is a classical feel to the situation, not striving for naturalism or realism as much as attuning the drama to the varied tones of the work that Mercadante applies.

Some of this is consequently of doubtful character - Flimm for example has Iarbas carry out his sacking of Carthage like he's playing a jazz-hands music-hall song and dance routine - but again the desired impact is very definitely achieved. Iarbas - very well sung by Carlo Vincenzo Allemano, even if the dancing around leaves him a little breathless - does have a greater role to play in this version of Virgil's Aeneid. Flimm's depiction of the wholesale slaughter enacted by Iarbas rampaging through the smoking ruins of Carthage at the conclusion and even involved in the death of Dido, does capture a sense of the complete loss and devastation of the Queen of Carthage's world, abandoned not just by Aeneas, but by everyone. There's nothing left but death.

Whether Mercadante's music has the necessary strength to carry that alone it's hard to say, but Alessandro De Marchi's conducting of the Academia Montis Regalis is authoritative and attuned to the situations and overall pace and rhythm. His interview in the enclosed booklet is highly informative on how a complete edition of the score was assembled and how the authentic early 19th century sound contributes to the character of the work. The singing is also impressive throughout, with a superb performance in particular from mezzo-soprano Katrin Wundsam in the trouser role of Aeneas, demonstrating impeccable control over the complete range with dramatic swoops from high to low. Her Act II rondò is just stunning.

Recorded live at the Innsbruck Festival of Early Music in 2018, Didone Abbandonata comes across well on the Naxos BD50 Blu-ray disc. The HD image is initially quite dark with high contrast due to the lighting, but the clarity is more evident in Act II. The DTS HD-Master Audio 5.1 and PCM 2.0 soundtracks provide two very different listening experiences. The surround giving more space to the instruments, the stereo giving much more presence to the singing. There are no extras on the disc, but good contextual information and a synopsis in the enclosed booklet. The BD is all-region compatible and there are subtitles in German, English, French, Japanese and Korean.

Links: Innsbruck Festival of Early Music