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By SUZANNE YANKO
ArtsHub | 24 May 2011
The Australian Brandenburg Orchestra is fortunate in its director, Paul Dyer, a musician with an exceptional sense of theatre. Time and again, Dyer constructs an entire program around an idea which unifies the works and yet leaves the audience excited about what may happen next.
This concert was constructed around the glorious voice of Fiona Campbell, a mezzo soprano with a range that comfortably reaches both alto and even soprano, with a sound that Dyer describes as “gorgeous, dark-hued tones”.
In his introduction, Dyer talked of the mezzos’ role in the 18th century – singing beside castrati, the superstars of their time. It was an interesting reversal of current trends in baroque vocal music that Haunting Handel featured a female voice rather than the counter-tenors who have so well captured the sound and spirit of Handel’s music.
The concert began with the Vivaldi Sinfonia in C which served as the overture to the opera Farnace. An energetic piece, it allowed Dyer and the ABO to demonstrate their showmanship and technical brilliance, as well as setting the stage for Campbell’s entry. (As the night progressed the audience learned to gauge the emotional content of each aria by what the soloist was wearing).
Although Campbell sang a ‘pants’ role, that of Orlando from Handel’s opera of the same name, her deep,
warm voice (and red gown) brought a strong femininity to the aria, “Sorge l’irato nembo”, while the orchestra created the fury of the storm, and ensuing calm.
After a lilting introduction from flute and basso continuo the soloist switched roles to that of the enchantress Alcina for the aria Sol da te mio dolce amore. It was intended to seduce Orlando, but it was the audience that easily fell under the spell of this performance.
Handel’s Concerto for Oboe in C RV 450 allowed Campbell a rest (and quick costume change) – but of course was valuable for itself. Soloist Kirsten Barry triumphed over the tuning problems of the baroque instrument, to produce a truly beautiful larghetto and mastery of the long, sustained passages in the final movement of the work. (All members of the orchestra apparently battled tuning difficulties on a hot stage that night, but gave little sign of it).
Campbell then returned, dressed in black, for the aria “Where shall I fly?” from the oratorio Hercules’ mad scene. She approached it – appropriately – more as a 19th century Italian operatic piece, using her lower register and strong voice with dramatic effect. The ABO provided great support, mastering both the complexities and furious pace demanded by the score.
Highlights of the second half were Campbell’s flirtation with cross-dressing (in a mannish white pants suit) in the aria “Mi lusinga a dolce affeto” from Alcina, as Ruggiero, a role written for a famous castrato. All that mattered was the voice – and it was a triumph, as we knew it would be.
The orchestra’s showpiece was Handel’s Concerto Grosso Opus 3, No 2, which gave all players their moment to shine. Of particular note were the extended cello solo and the reappearance of the oboe in a solo part, even more engaging than the earlier concerto.
The aria “Dopo notte” from Ariodante was an excellent choice to end the program. The demanding piece is massively baroque in concept, with voice and violins leaping to spectacular heights in
the dramatised passages.
It remained only for Campbell to return in red cocktail dress, with strappy silver heels, for a rendition of Old Mother Hubbard (“We think it’s by Handel”, said a straight-faced Dyer). The audience couldn’t care less. It kept Fiona Campbell and Paul Dyer with the orchestra on stage just that little longer.
