OrliÅski/Devieilhe/Il Pomo dâOro/Corti(Erato)Francesco Corti keeps the drama on the boil in this period instrument recording of Handelâs opera, with herculean feats of vocal dexterity by Jakub Józef OrliÅski in the title role â but itâs Sabine Devieilheâs breathtaking queen who steals the show
Giulio Cesare is Handelâs most popular opera with at least 15 versions in the current catalogue, several of them historical. This new recording by period instrument band Il Pomo dâOro comes off the back of a European tour, thus benefiting from the experience of live performances. A lived-in quality is palpable here, from the frisson of emotional risk-taking to imaginatively decorated da capo sections.
Leading from the keyboard, Francesco Corti keeps the drama on the boil, especially in recitatives where his resonant harpsichord sits comfortably in the mix. Timings are similar to Harry Bicketâs recent recording on Linn, but Corti invariably feels faster.
Heâs aided by a caution-to-the-wind performance from Jakub Józef OrliÅski. If his tuning comes a little unstuck at times, the Polish countertenorâs Cesare conveys authority and impetuosity in equal measure.
Heâs at his most compelling in the great âhuntingâ aria, Va tacito e nascosto, shadowed by the orchestraâs natural hornist, Christian Binde; Al lampo dellâarmi finds him executing herculean feats of vocal dexterity.
Among a fine supporting cast, Beth Taylorâs velvet-cushioned mezzo-soprano plumbs the depths of Corneliaâs anguish with Rebecca Leggett a bright, determined Sesto. Yuriy Mynenko switches registers left, right and centre as an especially unhinged Tolomeo and Alex Rosen is an imposing, almost noble Achilla.
But itâs Sabine Devieilheâs elegant Cleopatra that crowns this set, haughty, sensual, cheeky and desolate by turns. Vâadoro, pupille is exquisitely phrased with breathtaking pianissimos, while her Piangerò la sorte mia could make stones weep.
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