Pier Luigi Pizzi’s production of Handel’s Rinaldo dates back to 1985. It was created for the Teatro Valli in Reggio Emilia, and was performed in many major houses in Europe, enjoying tremendous success. It now returns to La Fenice, for the opening of the autumn season. The opera, loosely based on the chivalric poem La Gerusalemme liberata by Torquato Tasso, is an epic narration of the First Crusade. It was the first Italian opera written by Handel for a London theatre, and he recycled many musical ideas from previous operas written in Italy.
Pizzi’s idea was to bring back the magic of Baroque theatre, which fascinated audiences with its special effects supported by machinery, sparking a sense of wonder and excitement. The machines here are human: 22 mimes, dressed in black but visible on stage, move by hand the large carts on which the singers stand or sit on gigantic horses, thrones or chariots. The singers are clothed in brocade and silk, wearing helmets with plumes, elaborate wigs and enormous capes constantly flailing about (moved by the mimes); the Muslims in red and purple, the Christians in light blue and gold (the colours of La Fenice!). Their gestures are emphatic and stereotyped, their faces white, like statues. This rarefied atmosphere is emphasised by Massimo Gasparon's lighting; the whole stage is often very dark, with spotlights on the singers, shining on their costumes and cloaks. At the back of the stage, the dark architectural shape, unchanged for much of the show, leaves some “panels” open, illuminated by lighting of different colours. It is a spectacular production. Striking, gorgeous images come in unrelenting succession, leaving the audience with a sense of wonder at the conspicuous and flagrant boldness of the director. Extremely enjoyable.
The musical production has suffered the test of time more than the dramatic one. It is based on the 1711 version, but mixed with elements from the 1731 version, which was almost another opera altogether. The character of Eustazio is removed, Goffredo is a tenor, and the Christian magician (a living oxymoron) is a bass, as opposed to both being in the alto range (castrati). Some arias are moved forward or backwards but, most of all, the number of cuts is excessive, reducing the music to about two hours. These interventions are today less acceptable than in 1985, but the show is what it is, even with its flaws.
Listening to Handel on modern strings, with a tuning of 440, feels strange today. But conductor Federico Maria Sardelli managed to extract a crisp, edgy sound, with due respect to Baroque style. The fuller sound of the strings gave the orchestra the possibility of playing the most famous tune “Lascia ch’io pianga” with pomp, almost as a martial funeral march (Handel did call it a “Sarabande” after all). Baroque instruments were added: notably the excellent natural trumpets, recorders and a theorbo. Special mention to Giulia Nuti on cembalo for the intelligent, sparkling improvisations in accompaniment of Armida’s aria “Vo’ far guerra”.
Teresa Iervolino sang the eponymous title role with an incredibly beautiful timbre, especially in the middle-low register, and spotless coloratura. Her Rinaldo came through as a passionate lover and a young, hot-headed warrior. “Cara sposa” was a gem, Iervolino has a way of “sob-singing” without actually sobbing, it’s delicious. She was extremely accurate also in the recitativi, singing every word with the right intention and affection, which made the cut of most recitativi even more frustrating.
Armida, queen and witch, was Maria Laura Iacobellis, a young singer from the Accademia Rossiniana. Her first aria “Furie terribili” was a bit cautious, but she warmed up and dazzled with beautiful, easy high notes and perfect coloratura. She perhaps lacks a bit of confidence (age could be a factor here) but she shows huge potential. She interpolated some super-high notes that were just spectacular.
Almirena, Rinaldo’s betrothed, was Francesca Aspromonte. Her Almirena was not the usual ethereal damsel in distress, her powerful voice giving her more authority and importance. Her “Augelletti” aria, with the piccolo support, was delightful. Leonardo Cortellazzi was Goffredo, the Christian leader; his tenor was strong and masculine, the high notes powerful and luminous, with great Baroque style. Argante, leader of the Muslim army, was Tommaso Barea, replacing Andrea Patucelli, who fell ill. His opening aria “Sibilar gli angui d’Aletto” was a bit understated, and this could be premiere nerves. His voice, slightly opaque at the beginning, took confidence as the evening progressed, for a convincing performance.
All the remaining singers were up to the task and contributed to a great evening. The 90-year old Pierluigi Pizzi led the cast at the curtain call in several runs towards the front of the stage, like a young boy, to the cheers of the public.
