The sound of “Italian” sweetness

Who would have imagined it ? Alongside the most famous English and French ensembles performing early music on period instruments, who try in their different ways to recapture the style of the “ancients”, the formation of Italian performers is edging its way into the international scene. Leading the way are highly acclaimed musical directors who are in no way inferior to their foreign counterparts. Among them we find the harpsichordist, Ottavio Dantone, who, since 1996 has been musical director of the ensemble Accademia Bizantina of Ravenna with whom he has played as harpsichordist for several years. Pier Luigi Pizzi’s forthcoming production of “Rinaldo” by Handel at La Scala theatre will be conducted by no other than Ottavio Dantone.

Is this the first time you have conducted an opera by Handel in Italy?

Actually, I have already conducted Robert Carson’s production of “Orlando” by Handel with the
Accademia Bizantina in Ravenna and then at Reggio Emilia. With “Rinaldo” I’m once again taking up another opera inspired by the romance poems by Tasso and Ariosto which had a great influence not only on Handel’s works but also on those of other eighteenth century composers. This invitation on the part of La Scala to conduct “ Rinaldo” is a great honour for me.

In your view is this staging of an opera by Handel at La Scala of particular significance?

Baroque opera is arousing an interest among the public which until a few years ago was unthinkable. It has been slow in coming but now also in Italy Baroque repertoire is forcing its way into concert programmes. Recordings are increasing, and Italian ensembles are making headway abroad as well as receiving more and more invitations to the most important festivals of early music. I think that here in Italy there is a growing awareness that the most appropriate musical language with which to perceive this music at its best is through the use of period instruments which afford this music the sonorous language its style demands. Until recently it was believed that foreign baroque ensembles were carrying out experiments in aesthetics. Today, however, we realise that the work so far carried out has paved the way for us towards a historically correct perception of early music. I cannot consider myself a pioneer in this new approach to playing because we Italians were tardy in our understanding of the significance of this philological research. However, our results are greatly appreciated all the same .

So, do you feel that your work and that of other “specialist” Italian conductors like Rinaldo Alessandrini, Fabio Biondi and Alessandro De Marci have borne fruit?

The facts speak for themselves. The Italians have been able to give the sound a softness and sweetness in that play of contrasts which is an distinguishing feature of Baroque music, and I think this has aroused interest and appreciation. Each ensemble has its own characteristics, at times extraordinary, but the Italian ensembles have their own particular originality.

In spite of this, “Rinaldo” will not be per formed at La Scala by the Accademia Bizantina?

The La Scala Orchestra is an excellent and versatile orchestra so I ‘m sure that we shall be able to achieve stylistically appropriate effects even with modern instruments. I shall, however, be taking with me to Milan, Stefano Montanari, the first violin of my ensemble, as well as harpsichordist, lute-player and other players with whom I have a close working relationship. I have no doubt that the results will be equally stimulating because when you work with talented players you have nothing to worry about.

Which edition of “Rinaldo” will be performed at La Scala? Will there be cuts or will you play the entire version?

Handel edited two versions of the opera in London; the first in February 1711, which was taken up again in 1713, 1715 and 1718.; the second, at the height of his success in England, in the March of 1731, he changed, removed or added parts, giving the part of Rinaldo to Francesco Bernardi known as Senesino, Handel’s favourite castrato. The version to be performed at La Scala will be a mix of both editions. Some cuts will be made, although the changes will not damage the opera’s original structure, but rather they reflect some of the choices that Pier Luigi Pizzi had already made for his celebrated and now historically famous staging of “Rinaldo” for the Emilian theatres in the mid-eighties, which will be restaged with some new adjustments at the Teatro degli Arcimboldi .

It is thought by some that these philological performances have ended up suppressing the star worship of the great singers, and, consequently, the very spirit of bel canto. Do you feel this view is unfounded?

I have always listened with admiration to the bel canto singers who have approached the baroque repertoire. Today, however, there has been an evolution in the concept of singing in this repertoire. First of all, there is a more constructive collaboration between singers and conductors; this has brought about a more flexible and mature vision of its performance. There are some singers who, given their propensity to make music as a team with others, enjoy putting themselves to the test and are willing to accept a pace of work that some divas would never have consented to in the past. This has allowed them to develop a stylistic conscience and a desire to enter into the greater debate with the conductor of the performance, who has become the real reference point in the staging of an opera. This does not mean that singers are denied the full range of their vocal talents , rather they emerge as the fruit of a continuous comparative dialogue with the conductor. At La Scala I will have a cast that I feel is ideal, with Sara Mingardo as Rinaldo, and for some performances Sonia Prina, another excellent singer. There will also be Annick Massis (Alnirena), Darina Takova (Armida) and the young Marco Vinco (Argante). I’d like to say a few words about the new school of Italian Baroque singing. We have singers that cause envy abroad and they are more acclaimed than here in Italy as far as baroque repertoire is concerned. The level of technical preparation and stylistic sensitivity of our singers have greatly improved. If they have to move abroad in order to work that’s another matter; their excellence speaks for itself. In Cremona, in co-operation with the “Teatri del Circuito Lombardo (Brescia, Pavia and Como) I recently produced “Il Ritorno di Ulisse in Patria” by Monteverdi. The company I worked with was an all Italian cast, including Sonia Prina and Furio Zanasi. It was wonderful working with them . I’m sure that La Scala will give me the opportunity to work just as enthusiastically.