(Credit: © Silvia Frigato)

Just two violins, a cello, a chitarrone, and a harpsichord alongside a single soprano, nestled within the elegant architecture of the Franckesche Stiftungen, actively transported the audience back to the highly refined, intellectual settings of early 18th-century Roman salons. This beautifully crafted program by Concerto Italiano under Rinaldo Alessandrini mapped the rich cultural patronage of Cardinal Pietro Ottoboni and Marchese Francesco Maria Ruspoli. It offered a fascinating glance into the nurturing, competitive environment that fostered the young Handel upon his crucial arrival in Italy. 

The concert opened with Corelli’s “Triosonate in G major,” Op. 1, Nr. 9, setting a highly refined tone. Alessandrini initiated a true fantasy-style opening, where the strings unlocked a stately Roman character, transitioning through a brief melodic Adagio into an energetic Allegro.

This paved the way for Silvia Frigato’s first vocal offering, Händel’s “Ho un non so che nel cor” from “La Resurrezione.” Frigato instantly commanded the hall with a clean, crystalline articulation and clear vocal projection, with a striking silver quality that blended beautifully with the upper strings.

In Corelli’s “Triosonate in C major,” Op. 2, Nr. 3, the instrumental ensemble showcased its deep cohesion. Supported by a warm, solid cello foundation, the allegro moved forth with tasteful embellishments and a lively rhythm, while the slow movement featured a moving, lyrical violin duo before sweeping into a surging finale. 

The first half reached its dramatic climax with Händel’s cantata “Tu fidel, tu costante?” The opening Sinfonia was in concertato style, with extensive figures throughout. In the initial recitatives, Frigato’s delivery of the betrayed shepherdess’s complaints evolved into a bitter curse, criticizing her unfaithful lover. The subsequent arias were a masterclass in flexible, layered projection; she infused the music with a sneering, contemptuous tone that captured the character’s anger. After navigating a tense string-tremolo recitative packed with heavy emotional transitions, Frigato delivered a magnificent psychological questioning. In the final recitative and aria, her fierce determination gave way to a delightfully naughty, carefree lightness—a playful shrug at infidelity. 

The second half opened with Scarlatti’s “Nella patria de’ contenti.” Here, Frigato displayed a wonderful vocal range and an impressive long vocal line, managing minute forte-piano nuances with skillful ease over intricate high-low register shifts.

This was followed by Corelli’s “Triosonate in F minor,” Op. 3, Nr. 9, which was rendered with a refined taste. The opening Grave was deeply lyrical, while the subsequent Vivace and Allegro movements were rendered with such layered clarity that the entire sonata achieved a three-dimensional sense of space. 

The emotional floodgates opened fully with Scarlatti’s “Figli miei, spietati figli” from “La Passione.” Driven by an intensely tight string tremolo, Frigato projected a majestic authority. Her fierce performance projected the text’s tension effortlessly, seamlessly bridging low and high registers. 

The final Scarlatti’s cantata “L’Arianna” was a gem. Following a brisk, imitative Sinfonia, Frigato opened the vocal line with a warm, longing recitative and a supple aria that served as a tender affirmation of love. However, the performance achieved a breathtaking theatricality in the central recitative, where she split her voice into two distinct characters, abruptly shifting the atmosphere into a dream-like state before a sudden awakening. As Arianna realized her abandonment, the music exploded into a wave of raw fury. Unleashing a savage, full-throated curse against the instrumental churning tempest, Frigato dragged the audience through a searing doubting melody of intense suffering and pain. The final resolution in the concluding Arioso was transcendent; as Bacchus rescued the abandoned princess, Frigato’s voice seemed to ascend softly into heaven, finding a sublime, deeply moving sense of relevance and spiritual release.