A rare opera
This is a very good way to get into this masterwork from Landi. Unfortunately, the DVD is reducing the impact of the production. I attended one of the performances at The Theatre Des Champs Elysees, and part of the magic is lost.
But Jarouski and Cencic are fantastic! And what a beautiful music!

A most beautiful production, respectful of the work's character
This DVD is already available in Canada and I have watched it with ravishment. I already knew Christie's CD version from some years ago, with a mostly female cast, but this all-male version towers above it, if only vocally and musically.

The scenic production is fascinating, with lighting accomplished only with candles, giving a beautiful and slightly unstable visual texture to costumes and sets. The latter consist of an ingenious folding structure that can easily be reconfigured to stand as various parts of the family house, a public place or a country place. One of the most magical moments is when the double row of candles is lit up sequentially, bringing life to the first tableau of allegorical and symbolic figures.

The director seems to have instructed his performers to act in a slightly stylized manner, especially with the sustained poses of their hands, reminding me of paintings or sculptures where hands are frozen in gestures of acceptance, offering or devotion. One shortcoming the director had to work with though is the Maîtrise de Caen choir, whose members sing the ensembles and minor roles, and also try their best to act as extras. From the look of it, they do no seem to be used to performing in a dramatic staging; several of them seem detached, to be merely standing there and to be barely mouthing their part. Notable exceptions are mostly to be found amongst the child performers; for example, some of them give a very strong impression simply by the intensity of the attentive looks they give to the figure of Roma in the opening sequence.

As for the main performers, let us first marvel that we live in a time when so many talented countertenors could be found to fill the 9 roles necessary. Christie could even afford the relatively luxury casting of having such a well-established singer as Pascal Bertin for the rather short (but dramatically strong) role of Nuntio. The superstar of the show is of course Jaroussky; I do not know how long his voice will retain its crystal purity, especially in the high notes, but I am glad this performance was recorded for posterity. He manages to bring some musical variety to a role that is very much cast in a unidimensional plaintive mode. The whole opera is indeed is more in the mode or recitatives ("parlar cantando" is I believe the correct musicological term) than arias. It is a striking contrast to Landi's La Morte d'Orfeo (which we are lucky to have in two good CD versions, the Lasserre version on Zig Zag and the pioneering Stubbs one on Accent), more dramatic and full of characterized arias.

The one character that gets most of what we could qualify as arias is probably the comical valet Curtio, solidly sung by Damien Guillon with all the necessary cockiness until his final repentance. Also notable are Xavier Sabata as the Mother, a performer that was unknown to me, and the touching Nurse sung by Jean-Paul Bonnevalle (who sang in the chorus in Christie's first recording). But the most remarkable turn comes from Max Emmanuel Cencic as the abandoned Spouse, a performance that bears no trace of campy drag or caricature and which Cencic seems to inhabit with an unusual conviction, along with a truly wonderful mezzo tone. Alessio's character has beautiful music, but is never touching; the Spouse's predicament is given the full weight of emotion by Cencic's vocal and dramatic power.

The rest of the cast generally sings well, even if the Devil's role would have required a true basso profundo to do justice to the impossibly grave coloratura Landi has alloted this character.

As in many recording of operas or theatre, the director focuses too often on unnecessary side characters or action, a practice that at times detracts from the overall impact of the visual spectacle.

All in all an essential recording, as long as one is ready to accept some of the conventions that may seem dated to our modern eyes. As Dominique Fernandez aptly says in the liner notes, it is strange that a character who deserts his family and wife (probably just after the wedding, the libretto being a bit ambiguous on that point), and then lies to them for 17 years by living unrecognized under their roof, would be presented as an admirable role model. And was canonized to boot! (Although he was later removed from the official registry of saints.) And I have yet to watch the few extras, which include an interview with Christie.

Perfection!
This is scheduled for release on April 15, and I have rarely so anxiously awaited the arrival of any opera on DVD. Through the wonders of technology I watched this performance performance from the Théâtre de Caen live from my home in Portland, Maine.

Beginning with an absolutely gorgeous Sinfonia and flowing through three powerful, entertaining thought provoking and often moving acts, I can't imagine this opera not capturing both the attention and heart of baroque music lovers and opera fans, at least some opera fans!).

I have been a fan of Philippe Jaroussky since his bursting onto the baroque scene a few years ago, yet somehow this was my first opportunity to experience him in a complete role. Sold. We're seeing a differentiation between male treble singers these days: For instance in comparing the sound of David Daniels to Jaroussky, I would think Daniels to be something akin to a "heldencountertenor" - while Jaroussky's is naturally higher lying, with a more feminine and sweeter presence to it. In this very authentic looking stylized era (and Noh) inspired production, young Mr. Jaroussky's movements, facial expressions, and voice all coalesce into a powerful, genuinely moving portrayal of Alessio. I was particularly touched by the big Act I scene "under the stairs" of his father's home. Watching Jaroussky's arm movements one can't help draw the conclusion he'd watched a lot of Kathleen Battle and Maria Callas videos for he has the business down quite effectively. Some may find it artificial but "art" is part of "artificial, and I, for one, loved it.

Musically, one needs hear only a little bit of his music to realize Landi - was a contemporary of Monteverdi. I have to wonder, therefore, was the older composer (Monteverdi) familiar with Landi's "Alessio" as the scene between Ulisse and his son Telemaco bears a strong musical and dramatic parallel to Landi's scene between Alessio and his father, Euphemianus, composed at least ten years before Ulisse.

In the aforementioned scene Alain Buet's as Euphemianus is vocally a tad on the dry side, yet through phrasing and mastery of the style brings a formidable, strong reading and characterization.

The brilliance of Landi's creation (aside from the mouthwateringly beautiful score) is his pacing of dramatic scenes. The aforementioned scene of Alessio's "revelation" - a moving, deep contemplation/epiphany of being earthbound while desirous of heavenly flight, is immediately followed by two vain dandy-ish characters of the commedia del' arte type. They deliver a bawdy, delightful ditty about the joys of sloth-like behaviour moving on to torment the poor, dour Alessio. At one point they even sing nonsense syllables in such a happy refrain that I nearly joined in.

It was fascinating to experience an all male opera that isn't Billy Budd - especially one that has the then traditional gender-bending spectacle of males singing the parts of women. While I've seen this "experiment" in Shakespearean theatre, I've never seen "serious" operatic roles done in this manner, usually falling more into the Arnalta ("Poppea") type of slapstick "I'm a big man playin' a lady" played with a rather broad (pardon the pun) humor. There is an ensemble with the ladies in Alessio's life: wife, mother and nurse that is one of the most beautiful "stand out" moments of the entire opera. I rewound and played that number, again, shaking my head at the sheer beauty,
the depth of emotion with which Landi infused this moment. Additionally, their voices fuse gloriously - with an odd matching up of virbratos which has a power all its own. .

Landi gives the chorus glorious music and Christy's "minstrels" launch into it with a sense of elation and joy. The choral music is unique here in this style of music and at one point reminded me of Peter Grimes, Turandot or Porgy and Bess, so important and integral are they to the goings on. I loved the madrigal-like aspect of some of the writing for them, the raucous circus/carnival act ending dance (beautifully sans voices) as the stage is flooded in a riotous eruption of joyous emotion.

William Christie and his band give a predictably brilliant and buoyant reading of the score, elegant when necessary and "down and dirty" in its bawdier moments. Banjamin Lazar's actual-era inspired physical production matched the musical qualities of the opera note-for-note, right down to having the set lit by candles - a very warming and welcoming touch.

How wonderful to be living in these often depressing times, and witness the rediscovery of brilliant works of art! I am ever grateful for the work Bill Christie is doing to unearth, promote and help revitalize our musical culture.

Bravo to everyone involved in this very special project and I hope it inspires more audiences, more musicians, and more good will - this DVD should prove as good a starting point as any! Bravissimo!