Handel's bass singers never achieved the superstar status of some of the castratos and prima donnas who shared the stage with them, and we have no stories of tantrums and demands for rewrites. Yet Handel created roles of great definition and scope for basses, and Lorenzo Regazzo brings glamorous vocalism to a thoughtful selection of opera arias, along with the early cantata Dalla Guerra Amorosa.
The leaps and thrusting energy of the magician Zoroastro's "Sorge infausta una procella" (from Orlando) shows off Regazzo's thrilling sound, though he sometimes loses color negotiating the runs. Leone's "Amor da guerra e pace" from Tamerlano, is a conventional aria for a secondary character, but its vigor and urgent rhythms suit Regazzo's musical temperament well.
For a scene from Handel's early opera Agrippina, Regazzo darkens his voice to a voluptuous smokiness for the seductive, sinewy lines of the emperor Claudio for the aria, "Pur ritorno a rimirarvi". The ensuing recitative confrontation between Claudio and his two-timing mistress Poppea (the attractive soprano Gemma Bertagnolli) crackles with excitement.
Regazzo's voice is a bit too classy, his approach too serious, for Elvino's comic "Del mio caro bacco amabile" from Serse, but he is right at home in the chromatic, expressive "Pensa a chi geme", from Alcina, and he brings lilting vocalism and a touch of rubato to the siciliano.
For Cosroe's creepy aria "Gelido in ogni vena", from Siroe, Regazzo waits until the return of the opening section to bring theatrical expression and definition to the text ("the shade of my dead son fills me with terror"); had he started at that level of commitment and explored more deeply, the performance would be even more gripping.
The solo cantata, Dalla Guerra Amorosa, a gentle attempt to define and flee love's pains, is nicely paced, with an appropriately ironic touch. "Non v'alletti" shows what Regazzo can do with a lighter, more internalized approach (enhanced by cellist Matteo Scarpelli's sprightly playing). Apollo's recitative and aria "Come rosa in su la spina", from Apollo e Dafne, adds an extra commentary and provides a fitting finish to the recital.
Rinaldo Alessandrini and the excellent period orchestra Concerto Italiano provide attentive and theatrical support and offer the overtures to Siroe and Alcina.
You can also read the article in Opera News magazine.
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