George Frideric Handel (1685-1759)
Lotario, Dramma per musica in three acts, HWV 26 (1729)
Adelaide: Francesca Lombardi Mazzulli (soprano)
Lotario: Carlo Vistoli (countertenor)
Matilde: Anna Bonitatibus (mezzo-soprano)
Berengario: Krystian Adam (tenor)
Idelberto: Rafał Tomkiewicz (countertenor)
Clodomiro: Ki-Hyun Park (bass)
Händelfestspielorchester Halle/Attilio Cremonesi
rec. live, 8-10 June 2023, Halle Opera House, Germany
No libretto
Naxos 8.660570-71 [2 CDs: 157]
So neglected and even forgotten has Handel’s opera seria Lotario become, that anyone might be forgiven for being unaware of it. Back in 2018, Brian Wilson reviewed what was then the only complete recording available – and at just over three hours, it certainly was complete. This new live recording from Naxos, assembled from performances in the Händel Festspiele Halle in 2023, is half an hour shorter. There is another recording conducted by Alan Curtis (review), its recitativo and da capo sections of arias cut like this new one, with the result that both have exactly the same duration and the opera just fits onto two CDs – relatively short for Handel. I refer you to those earlier reviews for background, history and a summary of the plot, as it would be redundant to repeat that information here. (Comprehension of the typically over-complicated action is not helped by the fact that both the murdered Italian king and the German king are called Lotario, then the plot summary further muddies the waters by calling Berengario both “King of Italy” in the cast list then “Duke” in the text.)
One reason for the opera’s lack of popularity might lie in the nature of the music itself, which, as previous reviewers have pointed out, is predominately reflective and lyrical, with fewer of the bravura showpieces we encounter in, for example, Rinaldo or Alcina. Furthermore, the character development is essentially non-existent; Handel instead concentrates on static confrontations and conflicts or depicting particular emotive states of being. Having said that, there are nonetheless some undeniably fiendishly challenging arias, such as Berengario’s “D’instabile fortuna” at the end of Act II – which Krystian Adam surmounts admirably.
The sound is very good: clear and well balanced with virtually no intrusive noise. The conductor’s note tells us that the relatively small size of the Halle Opera means that a smaller string section than Handel probably had is employed here and that “[t]he secco recitatives were accompanied by two harpsichords, archlute, theorbo, cello and double bass”. The whole production is very intimate and small-scale; applause for arias is included and it sounds as though there are no more than two dozen people in the audience; indeed, there are times when the orchestra comes across as a little puny, especially in comparison to the magnitude of that accompaniment to the recitativo – of which there remains only the essential bare minimum, in line with the requirements of modern tastes and sensibilities – but those are negligible issues.
More importantly, all the voices here are pleasing; no wobbling or bleating. Polish tenor Krystian Adam is agile and even through his vocal range, Francesca Lombardi Mazzulli’s soprano is full, dark and powerful, and Carlo Vistoli’s countertenor is particularly impressive in its rich and ductile flexibility, with no hoot or screech and good, strong low notes which, surprisingly, are often missing in male voices which sing uniquely in falsetto. Second countertenor Rafał Tomkiewicz – another Pole – has less to do with only three arias but is likewise excellent. Anna Bonitatibus’ mezzo-soprano is similarly flexible and multi-coloured with a nice, baleful resonance to her lower register (she’s a baddie). Finally, sonorous Korean bass Ki-Hyun Park negotiates his coloratura nimbly and with warm tone, notwithstanding a hint of aspiration in the runs; his Act I aria “Se iI mar” is quite a showpiece and draws warm applause. I am always full of admiration for SE Asian singers who manage to master singing in Italian so convincingly; his accent and inflections sound authentic. Likewise, Lotario’s “Già mi sembra” is a highlight; it is only when we hear the first tutti “Viva e regni fortunato” (CD 1, track 18) at the end of the first act that we realise Handel wrote no part for a chorus; instead ensembles consist of all the soloists banding together. Actually, the music continues to get better as the act goes on, culminating in a rare pyrotechnical aria for Adelaide, triumphantly delivered by Mazzulli, which elicits the most enthusiastic applause thus far.
Act II begins with another impressive bit of singing from the bass and then a splendid coloratura aria for the wicked Matilde, eliciting more deserved applause. The act concludes with the longest solo in the whole opera, for Lotario, and Vistoli despatches it with aplomb. The success of those arias prompts another observation. Perhaps I should not venture this opinion without having listened more times, but it is my impression that accomplished though the score is, and despite the succession of engaging numbers, Lotario does not contain quite as many striking and memorable tunes as Handel’s most performed operas – which would constitute a third reason for its neglect. Very few, I venture, would be included in any “Greatest Hits” album, yet they are frequently wholly enjoyable. The brief martial Sinfonia in Act III reminds us of another style Handel could assume and Lotario’s subsequent aria “Vedrò più liete e belle” picks up on that livelier manner, making extreme demands on Vistoli’s capacity to deliver high-speed coloratura runs – and he rises triumphantly to the challenge. That is the vocal acme of the opera and the small audience responds with a merited “Bravo” and loud applause. Not to be outdone, Anna Bonitatibus despatches Matilde’s “Impara, codardo” with aplomb, followed by a third aria for Idelberto; everybody gets some time in the spotlight before an extended love duet for Adelaide and Lotario and a second, final tutti of general rejoicing.
If you are a Handel completist or just tempted to explore the byways of his operatic output, you could do no better than to acquire this valuable issue.
Ralph Moore
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