It looks like I’m becoming a Christophe Rousset as I haven’t missed any of his concerts since I came to London. And with a reason: because I’m enjoying them very much. This programme at the Wigmore Hall was just perfect: * it had coherence of showing the music of Venice during the early baroque * presented two different mood very well differentiated: love and joy vs. death and sorrow * mixed very well known music like the one from Monteverdi with some other now trending composers like Cavalli and some hidden treasures (Rossi Orfeo!
Doing an opera in the Roundhouse is stupid. Very stupid. Mostly because you cannot have a unamplified spectacle done in a round stage/auditorium with the singers facing different directions. Sound is a directional thing, you know, with waves propagating towards a specific direction. And the voice is projected on a single direction. This is the most basic thing in acoustics. And voice is the most basic thing in opera. So this does not work.
After the we got another sublime Monteverdi concert by Les Arts Florissants directed by William Christie. In the recent years Les Arts Florissants is playing and recording the whole Monteverdi madrigals across different cities in Europe. Those performances are conducted by Paul Agnew, the second on board of this wonderful ship that is Les Arts Florissants. But for Selva Morale e spirituale Christie exercised his right as founder and took the pleasure of conducting it himself.
Ey, that concert was fucking amazing. Expectations for Pygmalion’s debut in the Proms were quite high after their stunning recordings (Bach Lutheran masses and the Mozart Arias). But dude, they were short compared with the results. It’s really incredible that, nowadays, in 2017, there are still people finding new ways into music that has been there more than 500 years and has been re-re-discovered many times. Pichon approach to these Vespers (because his operatic Monteverdi could be different) is not in the path of the HIP pioneers in the sense of an objective performance.