"Floridante dates from 1721 and is one of the predecessors from 'Giulio Cesare', where Handel's inspiration reached a peak.
Floridante is not on that level, some routine work is included, Carolbo's third act (and only) aria, to name one.
But there are some gems that made me love this work, especially in this great recording. Alan Curtis fully deserves his place as one of the leading Handel conductors, not in the league of Minkowski or Gardiner, but certainly better than McGegan, King or McCreesh.
His choice of tempos is always judicious, and there's enough dramatic tension, even if the libretto is not Handel's greatest.
The characters of Rossane and Timante do not contribute a lot to the plot,
although they have some great music, and a moving duet in the middle of the second act. Sharon Rostorf-Zamir is a name that is new to me, she sings Rossane with great success, a clear and pure soprano. Roberta Invernizzi as Timante adds another succesful role here to her career.
Most attention goes to the primo uomo Floridante and the prima donna Elmira. Marijana Mijanovic's performance has received some very bad critics. Most of it is true: problematic intonation and clumsy aspiration certainly do not do justice to a role that was written for the great Senesino. Her act 2 'Bramo te sola' is simply unacceptable and I can not understand why the producers did not record this again. On the other hand, her recitatives are always stylish and the act 3 siciliano 'se dolce m'era' could not be more moving. Floridante gets a prison scene later in act 3 that is equally excellent. In the end, how strange it may be, I really love this flawed performance because the highlights are so exceptional.
Joyce DiDonate is an Elmira of equal imperfection. She starts off very bad in her first arias, strangely uninvolved.
She is far better later on, certainly in act 2 where Handel is at his most original: her arioso 'Notte cara' is interupped by an poignant accompagnato and then repeated, to a startling effect.
She has another accompagnato further on: 'Sorte nemica, hai vinto'. To hear DiDonato sing those lines convinces me that she is really a great artist.
The villain Oronte gets some good singing from Vito Priante, although I do not find his music exceptional.
To sum up: a spotted performance that is very difficult to rate.
But Curtis, Mijanovic and DiDonato got me hooked on Floridante, and I could not be without these CDs...
"
A little review Opera Handel-Floridante, Alan Curtis, Mijano
Der Händelfan | Herford | 09/04/2007
(5 out of 5 stars)
"The opera Floridante was completed on November 28th, 1721. The libretto was written by Paolo Antonio Rolli, it bases work La costanza on a substance of Francesco Silvani in trionfo. There are altogether 4 versions of the Händel opera. The original version was exposed by Alan Curtis now. Floridante was dedicated to Prince of Wales. In the opera it is all about the incarceration of a lawful throne heir. But how it shall the good be different, at the end win. The contemporaries were stirred by the soft slow arias particularly deeply. Floridante absolutely can keep pace with considerably knowner operas of Händel. Every aria becomes an exquisite pleasure in this reference-work. The baroque orchestra II Complesso Barocco under Alan Curtis' management and the operating soloists Marijan Miljanovic, Joyce DiDonato, Roberta Ivernizzi, Sharon Rostorf Zamir, Vito Priante and Riccardo Novaro fulfill her roles and if demanded, in a wondrous sentimentality one a masterly display of splendor. I like the opera Floridante and especially these production miss any more. A matter without and reproach. Said a jewel briefly."
State of the Art of Conducting
Giordano Bruno | Wherever I am, I am. | 07/10/2007
(5 out of 5 stars)
"Just a few minutes of listening to Il Complesso Barocco, conducted by Alan Curtis, will convince you that there really is an "authentic" Baroque style, evidenced by grace and flexibility, resulting in passion. This performance is the best of the several recent CD releases of Handel oratorios and operas, far more polished than Gardiner's Agrippina, Abete's Fernando, or Petros Magoulas's Arianna. The latter two in particular sound stuffy and bulky, like grandmama's oaken furniture, in comparison."
Exceptional cast...
R.S. | 05/26/2007
(5 out of 5 stars)
"A well directed Baroque opera and an exceptional cast. We have here some of the best Baroque singers. Marijana Mijanovic in particular : she dares to sing in her very own way, originally, taking risks only few artists dare to run and the result is nothing short of outstanding. The dark voiced contralto surprised with her unusual timbre as well as her unique way of vocalising (let us not forget that she's fully capable of vocalising in a more traditional fashion as in the Arcadian duets directed by Haim, but rather she has the courage to make the arias hers... special stand outs to her). Joyce DiDonato sings well and has a fine technique, but I don't find her singing quite original. Nevertheless she's exciting and shines as well here. In other words, the performances of miss Mijanovic are not only outstanding, but of the most surprisingly original. If you've not heard of that contralto, get ready to be moved that androgynous voice which will most certainly leave you perplexed."
Track Listings (21) - Disc #1