Performing Baroque vocal music with only harpsichord accompaniment is an artistic act of the purest and most challenging kind. Stripped of the varied timbres and dynamics of an orchestra, both the singer and harpsichordist are placed under an intense spotlight. The harpsichordist must rely on their basso continuo skills and creativity to construct a dynamic foundation, while the singer, deprived of orchestral support, must communicate entirely through the nuances of their voice. This format is both a challenge and a return to the intimate, almost embryonic state of a composer’s draft. It is an exploratory phase of early operatic rehearsals.

The concert at Fundación Juan March, Madrid, featuring the renowned countertenor Xavier Sabata and harpsichordist Dani Espasa, aimed to explore this purist form. However, the overall effect was one of introspection and somber reflection, shaped by the program’s design. While the diverse selection of instrumental solos—including toccatas and sonatas—offered variety, the overall atmosphere felt subdued. It wasn’t until the final moments that the performers fully embraced their potential. Dani Espasa, on a Franco-Flemish harpsichord, seemed at odds with the program’s overarching tone. His attempts to inject energy through detached articulation and dynamic phrasing were consistently reined in, often dissolving into a smoother legato style that softened the music’s edges. This created a polished but uninspiring soundscape, leaving much of the accompaniment devoid of rhythmic drive or focus. The instrument itself, while beautiful in its velvety timbre, amplified this sense of comfort at the expense of vitality.

In contrast, Xavier Sabata managed to achieve clarity and tenderness in the evening’s program. His voice, clear yet supple, resonated well with the introspective nature of the repertoire, particularly in the more elevated selections by Cavalli and Steffani. Sabata adeptly conveyed the distilled emotion and reflective mood demanded by these pieces. Yet, a notable absence of embellished ornamentation in the continuo line left many arias feeling sparse, forcing Sabata to navigate an acoustically barren space alone, which in turn kept his voice confined to an elegant but limited range, lacking dynamic contrast.

The absence of improvisational flair and imaginative endings to musical phrases in the basso continuo robbed the music of its spontaneity. This issue became particularly evident in Handel’s arias, where the theatrical impact should have been much more pronounced. The turning point came in the second half with Francesco Gasparini’s Aria di Cefalo, “Qui ti scrivo o nome amato.” The aria’s chaconne-like rhythmic propulsion seemed to energize both performers. Espasa and Sabata finally began to shed the introspective cloak that defined the earlier parts of the concert. Their newfound communicative energy transformed the piece, with a clearer sense of dialogue and interplay between voice and keyboard. The two even began to exchange smiles, signaling an ease through mutual connection.

The evening’s highlight finally arrived during the last programed piece, Benedetto Ferrari’s aria “Amanti, io vi so dire.” Here, the duo broke free of all restraint, delivering a performance filled with spirited keyboard touch, driving rhythms, and an abundance of improvised embellishments in the basso continuo. This sudden shift in character felt almost miraculous, as if both performers had been waiting to unleash their full artistry. The freedom, vitality, and joy in this brief yet buoyant piece were infectious, leaving the audience in awe.

The encore, “T’ubbidiro, crudele – Fammi combattere” from Handel’s “Orlando,” continued the exhilarating momentum built in the closing pieces. Sabata’s vocal expressiveness and Espasa’s revitalized harpsichord accompaniment brought an energetic spark, ending the evening on a triumphant note. The stark contrast between the subdued atmosphere of the first eighty minutes and the electrifying final ten minutes suggests the program’s introspective design may have initially restrained their artistic expression, the concert’s conclusion revealed a duo capable of delivering performances rich in emotion, virtuosity, and spontaneity—qualities that define Baroque music at its finest.​​​​