(Photo: ©pissarek)

Innsbruck Festival of Early Music’s “Händel & Greber” program featured works that compliment and celebrate works by both composers in tandem with musical ideas that resonate across space and time.

The evening included soprano Silvia Frigato and mezzo-soprano Mathilde Ortscheidt. Ortscheidt is the recipient of the first prize at last year’s “Pietro Antonio Cesti” Baroque Opera Competition in 2023. Her repertoire during that competition included arias “Dille, che nel mio seno serbo” from “Arianna in Creta” by Georg Friedrich Händel and “Ferri, ceppi, sangue, morte” from the opera “L’incoronazione di Dario” by Antonio Vivaldi. The Cesti Competition was founded in 2010 by Alessandro De Marchi. It is named in honor of the Italian composer Pietro Antonio Cesti, who made Innsbruck a center of Italian opera north of the Alps in the mid-17th century. And Opera Wire will cover this year’s competition so stay tuned.

Along with Frigato and Ortscheidt, “Händel & Greber” featured Akademie für Alte Musik Berlin. Most of this review will include vocal works, however I wanted to be sure to highlight my favorite piece played by the ensemble, Pepusch’s “Concerto II in G major.

Johann Christoph Pepusch (1667-1752): Concerto II in G major

Akademie für Alte Musik Berlin featured Concerto II in G major for two recorders, two violins and basso continuo by Johann Christoph Pepusch (1667-1752). They played with an air of lightness and vitality that made this work the perfect opener for the night’s program. This exciting group includes Yeuntae Jung and Friederike Vollert, Recorder, Elfa Rún Kristinsdóttir and Eduard Kotlyar, Violin, Luise Buchberger, Cello, Raphael Alpermann, Harpsichord, and Evangelina Mascardi, Archlute. Pepusch’s composition comes from VI Concerts for two Recorders, two Transverse Flutes, Oboe or Violins & Basso Continuo op. 8, Estienne Roger (Amsterdam, ca. 1717-18) and includes three movements: Vivace, Grave, Allegro. What really stood out was how naturally the group synthesized during the Grave movement. Time seemed to stop and the walls of Ambras Castle Innsbruck, Spanish Hall came to life. The intricate paintings and ornate details especially on the ceiling became emboldened with spirit and charm. This setting and musical experience really is unlike any other I have experienced yet!

Yeuntae Jung on recorder was a true joy to experience during this live performance. His presence lit up the stage and one could feel his delight in doing what he does best, and assumably loves the most. Raphael Alpermann on harpsichord has been with Akademie für Alte Musik Berlin since its founding in 1982 and there was a sense of admiration for his ensemble members as they all played together, especially during the Allegro. I want to experience this group in full someday!

Jacob Greber (1673-1731): Filli, trà il gelo e ‘l foco

Soprano Silvia Frigato performed “Filli, trà il gelo e ‘l foco” by Jacob Greber (1673-1731), a cantata for soprano, two recorders and basso continuo. Her voice floated into the Spanish Hall with warmth and ease. One could sense just how “at home” she must have felt being back at Innsbruck Festival. She was in her element with this Greber piece, and her voice blossomed especially while singing the aria, “Il cor che nel seno da’ vaghi tuoi rai”. Her ornamentations were insightful and aligned with the musical atmosphere of intimacy and intuitive intelligence. I really appreciated how her performance reflected Greber’s musical intentions for the voice. Not once did she make it about herself, instead, this was a moment in alignment with her surroundings, the ensemble members playing with her, and most importantly the power of Early Music’s charm — the ability to bring listeners together through a simple yet complex emotional connection.

Quando lungi è il mio Fileno

Mezzo-soprano Mathilde Ortscheidt and soprano Silvia Frigato performed Greber’s “Quando lungi è il mio Fileno” with meticulous attention to detail and style. There was a pre-show discussion held with both singers that informed the audience more about how the role of Clori is a much lower register repertoire choice for Ortscheidt. She mentioned how this role was possibly written for a countertenor. However, while listening to Orthscheidt sing this, I almost wanted to hear more of her lower register, more often. There is a vastness of depth and tranquility in her voice that unearths something she may have only touched on thus far in her vocal journey. And I want more for her to come forward with this type of practice and exploratory risk. It takes guts to endeavor something that feels out of reach, however her voice reaped all the rewards.

Frigato’s soprano along with the full body of Ortscheidt’s mezzo flourished. It was a beautiful balance to experience both voices musically and emotionally. All I kept thinking about from this point in the program was how much I want to hear them perform Bellini’s “I Capuleti e i Montecchi” together. That would be a dream come to life!

“Mi diletta la fresca herbetta” was a true highlight, especially when the two violins, played by Elfa Rún Kristinsdóttir and Eduard Kotlyar, accompanied Frigato’s voice. One could sense her voice stretching into the ethereal bliss fo Greber’s composition, making the music magical and meaningful. I live for moments like this, listening to a voice really come into its own and own it. This was such a joy.

“Se il mio ben non fosse” created space for Ortscheidt’s voice to unfurl. This aria’s gentleness and tempo allowed her to take her time when exercising her vocal technique to reach the lowest notes of her voice. It was like listening to a tree take root and dig deep into the rich soil of a foreign land, only to discover that it was meant to grow there all along. 

The closing aria, “Senza la sua facella”, utilized movement and fluidity of the voice similar to Händel, although still very much written by Greber. It was dancelike with a simplicity of charm and emotional resolve.

Tu parti idolo mio (appx. 1716)

This is a cantata for alto, recorder, two violins and basso continuo where the Akademie für Alte Musik Berlin really came to life with Ortscheidt’s voice. The opening recitative induced moments of remarkable vocal awareness and attunement by Ortscheidt. She was all in with the music and mood, all the time. Her voice was utterly resplendent. The aria “Se l’idol mio tu sei” sent chills up my spine with rejoice for experiencing her sing this live, and so did the closing aria, “Alma ingrata questo core che si more”. I must add that the naturalness of the Spanish Hall, with its wooden ceiling and handcrafted glass window panes resonated the full spectrum of Ortscheidt’s voice. This is why, in my opinion, it is vital to host vocal performances in spaces like this. Innsbruck Festival was spot on with this collaboration and program, showcasing the timeless comparisons of Händel, Greber and modern voices that continue to honor Early Music’s undeniable deliciousness. Brava!

Georg Friedrich Händel (1685-1759): “Il duello amoroso” (Amarilli vezzosa) HWV 82

The opening recitative, “Amarilli vezzosa”, illuminated Ortscheidt’s mezzo from the very first note. The Akademie für Alte Musik Berlin played with gusto and thus furthered the vocal agility and aspirations of Ortscheidt while singing the role of Daliso, especially during her aria, “Pietoso sguardo”. 

Frigato’s opening recitative, “Dunque tanto s’avanza”, as Amarilli, was like a silver thread of sound. Her voice reached its apex during this moment in the program, and I could feel another breathtaking duo was on the rise. But not before Frigato’s exquisite aria, “Piacer che non si dona”. Her high notes were like gold, melting listener’s hearts in the presence of clarity and crystalline dimensions. Frigato’s next aria, “Quel nocchiero che mira le sponde”, benefitted from her vocal precision as the runs and ornamentations had the potential to make or break the whole night. Due to Frigato’s admirable vocal technique and breath support, she soared!

Ortscheidt’s rebuttal aria, “È vanità d’un cor”, was full of emotional lament and just in time for the duo recitative, “Or su, giacché ostinato”, and thrilling final aria duo, “Sì, sì, lasciami, ingrata”. And just when we all thought this night could not be topped, they announced an encore consisting of the last duet from Händel’s “Giulio Cesare”, “Caro, Bella”. Frigato and Ortscheidt sang with triumphant joy as the Akademie für Alte Musik Berlin played. This was a once-in-a-lifetime experience to be cherished forever.