Review: Philippe Jaroussky & Emőke Baráth

An event at the Palau de la Música Catalana is always a singular experience. The prospect of spending a Sunday afternoon listening to 17th century music under the tinted light of the concert hall’s stained glass windows seemed the right way to break with months of silence and isolation. The occasion was the staging of La Storia di Orfeo, an album released by French countertenor Philippe Jaroussky in 2017. The work is a pastiche of excerpts from L’Orfeo (1607) by Claudio Monteverdi, Orfeo (1647) by Luigi Rossi and Orfeo (1672) by Antonio Sartorio. 

In his own words, Jaroussky conceived this work "as a kind of opera in miniature or as a cantata for two solo voices and chorus,” around the love story between Orpheus played by Jaroussky, and Eurydice played by Hungarian soprano Emőke Baráth. Both singers featured in the main roles accompanied by Ensemble Artaserse, a baroque group co-founded by Jaroussky in 2002. On this occasion, the choruses were replaced with some instrumental passages from works of Monteverdi, Cavalli, Marini and Castello.

Partners in other musical projects, the performers shared an evident camaraderie, making the event seem like a group of old friends getting together to have a good time making music. The relaxed atmosphere extended beyond the stage, creating a sense of closeness even among the audience members.

Theatrically, the artistic selection was very sober and highly effective. The ornamented stage of El Palau paired with a couple of chairs, a set of rings and small costume accents were the only props needed in a staging where the absence of a chorus put the weight of the acting on the soloists. Jaroussky and Baráth delivered a bare yet nuanced and graceful performance in a sort of dramatized cantata.

Thematically, the story was divided into two blocks. The first depicted the young lovers reveling in scenes of happiness, ending with the sudden death of Eurydice. The second staged the drama of Orpheus' grief, his quest to rescue his loved one from the underworld and the tragic denouement of his efforts. The division between the segments was marked by a very brief musical pause: a dimming of the lights and exit of the soloists followed by an instrumental bridge by the ensemble that set the mood for what was to come next.

Perhaps Jaroussky's selection of Sartorio's “Orfeo tu Dormi?” was a sign of the times. In it, Eurydice exhibits a strong presence, showing Orpheus a way to prove his love. Baráth was an excellent match for Eurydice; she displayed remarkable technique and a beautiful, full voice. Her performance was convincing, authoritative, compelling and yet full of grace and depth when the role required it. Baráth's delicate dancing conveyed veritable joy and her voice, combined with her natural beauty, were a reminder of the extent anyone could go for love.

Though Jaroussky has performed in Spain before, this was the first time I attended a live performance of his and I was a bit wary of the hoopla that surrounds the unusual spectacle of a countertenor together with a soprano, and of how easily baroque music could lend itself to an exhibition of vocal acrobatics. Fortunately my apprehensions were unfounded. In front of us stood a musician and an artist.

Jaroussky's voice and technique have been justly praised elsewhere and there is little I could add to it. Regarding this performance at El Palau, he brought an instrument in good shape and his voice and technique were at the service of his art. Jaroussky worked in unison with the rest of the ensemble, letting Orpheus as well as Monteverdi, Sartorio and Rossi be the protagonists.

It would be shortsighted though, not to mention Jaroussky's performance of Possente Spirto, one of the most important arias in Monteverdi's opus. It’s a piece in which the singer must exhibit prowess and at the same time be modest, convincing and moving. After all, in what other way could anyone sing to soothe Charon's determination and get from him leave to enter Hades? As Jaroussky recognized years ago, his daring has been to perform this aria in the countertenor voice. A worthy experiment, in my opinion, especially with his voice. Jaroussky's tessitura made the piece less somber without diminishing its impact, and in his interpretation he correctly pursued beauty over effect providing a unique and enjoyable experience.

I must confess that when I heard the original recording I found it a little bit flat. But after this performance, I realized this format is what was at the core of Jaroussky's vision and it was completely justified.

Despite having a second session programed later in the evening, Jaroussky, Baráth and the Ensemble graced the enthusiastic audience with an encore. Jaroussky stated that improving the mood was in order and again, Monteverdi came to the rescue: the ensemble gave us “Pur ti miro” from L’Incoronazione di Poppea.

This review cannot be business as usual, though. Orpheus went to Hades and returned, changed. His story resonates with ours in this time of transition.

Attending a live event only emphasized to me the notion that culture and those who make it possible have always been there, providing us company, entertainment and comfort in dire times. However, we often take their contributions for granted and have been slow to recognize the value of what they give us.

On behalf of the Barcelona Metropolitan team, I'd like to take a moment to thank the creators and everyone else who works in the cultural sector. To all those who make cultural life possible: Thank you! You make our city and our lives better.

Héctor Cols is an occasional contributor to the Barcelona Metropolitan, covering human or geographical landscapes and helping with data related issues. Héctor is a curious software developer that finds no joy in conversation with Siri or Alexa and prefers to mingle with other kinds of outsiders. A fan of all things Barcelona, Héctor was in charge of the culture section of Resident Aliens, a podcast of the American Society of Barcelona.