VIRTUOSI…

As one works with different groups, leaders, or conductors, one realizes how exciting and different each of these artists approach music. This is really an interesting realization for a performer. As a singer I try to bring what I think is artistically appropriate on the table but come with an open thought process to absorb any ideas that the conductor would have. Ideally you go into a rehearsal as a play-doh and the conductor shapes you into what he or she thinks it’s best for what the composer asks for. Which is in all fairness what we should all strive for.

Another thought that I’ve recently had after performing arias written for virtuosi singers such as Farinelli was why do we usually use the term ‘virtuoso’ or ‘virtuosi’ for mainly baroque repertoire? Is it because there are too many notes in one page? No, it certainly isn’t just too many notes! It’s because you have to jump octaves and sometimes 10ths, sing a 15-minute aria with countless runs, and the list goes on. But this is only one aspect of earning the word virtuoso. There is of course the beauty of the voice, the character realization and portrayal, but mainly how does one bring these arias to relevant term and make it enjoyable for the audience? A question that I hope of filling but wouldn’t be able to answer as it lies in the mouth of the audience.

Last Thursday I took a train to Tudeley and got picked up from the train station to be taken to my rehearsal with I Virtuosi Delle Muse. Group of intelligent musicians from France and Italy, who are led by magnificent concertino Jonathan Guyonnet and the ever so exciting conductor Stefano Molardi. Such a joy to see passionate artists! We’ve immediately connected and got to work on music written for Farinelli, and Caffarelli. After the rehearsal I was seriously exhausted, as these pieces require lot of breath work. This was another reason why I had been spending lots of time at the gym doing cardio to get the lung capacity in a good place for these difficult arias. We had a fantastic concert that night at the Tudeley Music Festival and on the next day we did another run of it at the London Handel Festival with great success.

Now another night of it awaits me at the Purcell Room of Southbank Centre. This time around I will be working with my group Broschi Ensemble and another virtuoso Steven Devine. We will for sure bring something different to these pieces compared to what we have already achieved with VDM. But this is the fun part of it! It’s never the same; it’s always different to be performing the same repertoire with different artists. Is this what being a virtuoso is about? Questions, questions, and more questions!