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Kansas City's own Joyce DiDonato, now a world-famous mezzo, put her estimable coloratura and dramatic talents on display January 21 at a Harriman-Jewell recital at the Folly Theater with the French baroque instrumental ensemble Les Talens Lyriques.

Each time DiDonato appears here, she seems to have gained not only in vocal pyrotechnics but also in dramatic stage presence. In this concert, her convincing dramatic and acting abilities added almost more to the sense of fury and anger in these selections as did her impressive singing of Handel fireworks from her new recording, Furore! Handel Opera Arias.

The theme of the recording - and the program - was songs of anger or fury sung by characters from Handel operas. The excerpts were largely laments or arias of vengeance composed by Handel to be sung by the male heroes in his operas, often sung in those days by castratos, the castrated males who were so popular in European opera houses of the day. The range of the castrato singer was similar to that of today's mezzo-soprano, which is why singers such as DiDonato find these selections so fitting to their voices.

Most of DiDonato's arias were tortured, angry pieces of music, spitting venom and vengeance in equal measure.  They call for guttural roars in the lower register - almost growls - and spectacular trills, leaps, glissandos and throw-away high notes in the higher register. In every respect DiDonato was more than up to the task, occasionally sacrificing tonal beauty for dramatic effect, but in each instance, portraying the anguish or fury of the character with apt characterization.

The three selections from Handel's early Teseo (1713) to open the program displayed the trademark DiDonato perfection in the rapid sixteenth-note passages.  No scooping or sliding here - every note was perfectly placed and absolutely in tune, no matter how rapidly she sang. Her portrayal of her characters' overly wrought emotional states continued with arias from Imeneo (1740) and Serse (1737), whose "Crude furie" was probably the most spectacular coloratura number of the evening, coupled with DiDonato's outstretched arms, tortured facial expressions and an occasional clasping of the temples. 

Les Talens Lyriques, formed 18 years ago by Christopher Rousset, the conductor of the performance, grew out of his experience with the baroque ensemble Les Arts Florissants and his love of early music, particularly opera. The 18-piece ensemble showed its obvious affection for this music in several instrumental interludes, including the overtures fromImeneo and Hercules (1745), a fine chaconne from Il Pator Fido (1734) and a passacaglia from Rodrigo (1707). The Hercules overture was particularly impressive, as the eighteen musicians made the majestic score with its grand closing fugue sounded like it was being produced by a much larger band.

Individual members of the ensemble were featured in several of the accompaniments, particularly the fine oboist Joseph Domenech in the second Teseo aria and Rhoda Patrick, bassoonist, in DiDonato's selection from Ariodante. In addition, first violinist Stephanie Paulet showed off a fine talent in her solos in a passacaglia from Rodrigo.

In the program's second half DiDonato featured a famous aria from Ariodante (1734) with slow, anguished arching phrases complete with floating pianissimos, and then finished with two spectacular demonstrations of vocal pyrotechnics from Handel's late workHercules, the only oratorio selections on the program (the others were all from Handel's Italian opera period), and thus the only ones sung in English.

By the end of the program the audience was nearly exhausted, as was the singer, and so for her two encores DiDonato treated the crowd to works of different nature, although both still by Handel, demonstrating that composer's remarkable ability to characterize different emotional states in music. 
The first was the slow and hauntingly beautiful "Ombra mai fu" from Serse, better known as the "Largo," an aria sung (of all things) to a tree. Many singers have given us this familiar tune on a variety of recordings over the years, but this listener has never heard it sung more beautifully.

In her second and final encore, DiDonato treated the crowd to an aria of jubilation, "Dopo notte" from the final act of Ariodante, a piece much different from the more anguished lament from the same opera which she has sung earlier in the evening.

The standing ovation for both singer and ensemble was richly deserved. After departing Kansas City from this recital DiDonato and company were to take this same show on the road to Carnegie Hall. We were glad to have heard it first in Kansas City.
 

REVIEW:
Harriman-Jewell Series
Joyce DiDonato and Les Talens Lyriques
Wednesday, January 21, 2009
Folly Theater 
www.harriman-jewell.org

By Don Dagenais

City Classics Music and Dance Columnist; Classical Contributor

A lifelong classical music fan, Don Dagenais is a frequent preview speaker for the Lyric Opera of Kansas City and has taught classical music and opera courses at several Kansas City venues. He has served on the boards of directors of a number of performing arts organizations including the Lyric Opera of Kansas City, the Lyric Opera Guild, UMKC Conservatory of Music and Dance, Opera Volunteers International, the Civic Opera Theater of Kansas City, Inspiration Point Fine Arts Colony, Octarium, and the Friends of the Symphony.  He has been the past president of most of these organizations and is current the president of the Friends of the Symphony. 

Dagenais co-authored a history of the Lyric Opera of Kansas City, published on the occasion of its 50th anniversary (2007) and has written books on the histories of both the Lyric Opera Guild and Opera Volunteers International, as well as an introductory book for opera novices (Your Passport to the Opera).  He has received several local and national awards for outstanding volunteer work for the arts, including a lifetime achievement award from The Coterie Theatre in 2000, the Kansas City Musical Club's annual award in 2001, a Partners in Excellence Award from Opera Volunteers International in 2002, a Bravo Award from Opera Volunteers International in 2004 and a community service award from the Daughter of the American Revolution in 2008 honoring him for his community service to the arts.

In addition to his music interests, Don is president of the board of directors for the Metropolitan Ensemble Theater and has served on the boards of The Coterie Theatre and the Heart of America Shakespeare Festival, serving as president of each organization.  He publishes newsletters for seven arts organizations.  When not involved in the performing arts, Don is a senior real estate attorney with Lathrop & Gage LLP in Kansas City, Missouri, where he has practiced law since 1976 after graduating from the Cornell Law School.