It may seem odd to begin a review of a solo-vocal recital with praise for the orchestra, but in this case the instrumental ensemble is such a vibrant, powerful, invigorating force that its impact on the performances can’t be ignored. Not that the outstanding Quebec-based Les Violons du Roy in any way upstages or obstructs the superb singing of world-class mezzo Vivica Genaux–to the contrary, playing at this level of technical accomplishment and artistic sensitivity serves only to inspire and complement the soloist, and vice versa. Genaux is simply unsurpassed as an interpreter of this repertoire, and her vocal credentials are unassailable, proven in several earlier recorded Handel performances–“astounding agility, vivid color, and solid, sustained power that underlies every note, ornament, and run from top to bottom” (Arias for Farinelli–type Q5325 in Search Reviews); “a vivid, involved hero, singing with great evenness, impressive tenderness in the yearning arias, and no fear of Handel’s fiercer music” (Rinaldo–type Q6354).
While the Handel selections here are basically just top-tier show-off music (which Genaux and her orchestral partners relish to the fullest), the Hasse arias demand more expressive depth. And Genaux characterizes each of these–especially the extended recitative “Placati, o pastorella”–with the requisite style and dramatic flair, and Bernard Labadie and his orchestra light a fire that both illuminates and energizes her equally-scintillating vocal lines.
As good as Genaux is–and she’s certainly among the best in this repertoire, along with the amazing Stephanie Blythe (also on Virgin–type Q4499 in Search Reviews), star billing here must be shared by Labadie and Les Violons du Roy. Just listen to the aria from Handel’s Alcina and try to find or even imagine a more exciting, rhythmically charged, clean, articulate orchestral performance. Indeed, this–including Genaux’s solo work–is likely the single best Handel aria performance ever recorded. For years I’ve been singing the praises of this superb orchestra and conductor, whose early work appeared on the very fine but now-defunct Dorian label, but I’ll say it one more time: if you haven’t heard Les Violons du Roy, then you haven’t heard one of the world’s top-three Baroque-music orchestras. And Labadie deserves the acclaim and respect routinely assigned to such conductors as Koopman, Harnoncourt, and Herreweghe. Listen for yourself–and prepare to be impressed, and persuaded. [9/19/2006]
