LEONARDO VINCI – ARTASERSE – PHILIPPE
JAROUSSKY – MAX EMMANUEL CENCIC – DANIEL BEHLE (tenor) – FRANCO FAGIOLI – VALER
BARNS-SABADUS – YURIY MYNENKO – CONCERTO KÖLN – DIEGO FASOLIS – 2012
This rare “Dramma
per musica”, in other words opera, is admirable in many ways, and it should
deserve a long commentary if not a study in depth. I am only going to make a
few remarks. I will keep the fact that this recording is an all-male recording
for the end.
Note the action
takes place in Persia,
hence everything is possible since they have very cruel gods over there. We must
be surprised by nothing. Let’s first look at the plot. The king of Persia, Serse,
is assassinated by Artabano, the commanding officer of the royal guard. This
Artabano is plotting the end of this dynasty, along with the main general of
the army, Megabise. Artabano then tells Serse’s son, Artaserse, that the
culprit is his brother Dario. Artaserse orders him to capture Dario and put him
to death, which is done very diligently. Artabano’s plot is in fact to kill
Artaserse too but within a military putsch that will bring his own son, Arbace,
to the throne as the liberator of the people and the country. Thus after
killing Serse, he had given the bloody sword to his son and told him what he
had just done, which deeply perturbed the son. Artabano thinks that his son is
going to play the game because he was banned from the palace by Serse because
he had dared ask for Mandane’s hands, Artaserse’s sister, Serse’s own daughter.
To understand the situation we need to add at this moment that Arbace has a
sister, Semira, who is deeply in love with Artaserse and Artaserse is in love
with Semira too. But Artabano has negotiated Semira’s marriage with Megabise to
get the general’s support in his plot. Finally Artaserse and Arbace are friends
and their friendship is probably more love than just simple friendship, if
there is a difference between the two.
At this point
then, the opera is setting one against the other two love relations between
four men. Artabano and his son Arbace, filial and fatherly love on one hand.
This love implies that the son will never speak against his father and that the
father will do anything he can to serve his son, even if the son does not agree
or approve. On the other hand the love between the two friends Artaserse and
Arbace and that love will lead Artaserse to trying all he can to save his
accused friend Arbace who was found in the palace garden with the bloody sword
that killed Serse and in a state of total derangement. Artaserse appears here
as a childlike character who makes all types of mistakes because he reacts like
a child, without thinking. He is reactive and in no way mental. He orders the
death of his brother without wondering why his brother would have killed their
father. He then orders Artabano to be the judge of his own son, thinking the
father would show some clemency or leniency in, judging and sentencing his own
son. Later on he will order the death of Arbace on one piece of information,
Arbace’s leading the rebellion, just before it is revealed to him that Arbace
has just brought the mutinous army down and killed Megabise. Finally he will
order the death of Artabano when Artabano confesses the plot and his guilt, and
it will take a lot of energy on Arbace’s side to convince him to be clement. It
is useless to insist on the fact that the childlike clear voice of Philippe
Jaroussky fits perfectly in that childish personality.
But the love
between Artaserse and Arbace is so deep that we wonder at times if it is not
more than love or friendship and we feel at times the relation that should
exist between the prince, and then king, and the son of the commander of his
royal guard is not inverted. It clearly seems so when we consider the two
voices. Franco Fagioli has a deeper voice than Philippe Jaroussky and the music
emphasizes this contrast so that at the end, when Arbace convinces Artaserse to
be clement Arbace sounds like the man who is sound and able to make sound
decisions whereas Artaserse sounds like the child, teenager or young man who is
just able to understand and accept what Arbace tells him. The dominant
character is Arbace. So that is more than love or friendship. That is a
relation of political and mental dominance, developed and accepted by both men.
Arbace becomes Artaserse’s counsellor but founded on a deep loving relation
between the two men which enables the King to follow his friend’s advice, or
rather decisions. This is all the more true when at the beginning of the third
act Artaserse helps, and in fact orders, Arbace to escape before he be
executed, what’s more by his own father. It is this act that will enable the
end and the defeat of the rebellion.
Then we can
wonder at this point why Artabano is the only tenor among the men, all the
others being countertenors. The question is particularly important since the
opera was created in 1730 in
Rome. The tenor
here is two things: first a father who is suffering tremendously when his own
plot sets his own son in a tremendous danger and when he sees that the failure
of the plot might get his son in even greater danger. He has the deeper voice
of a tenor and that fits with his being a father, and what’s more a commanding
father, if we can say so, that commands his son around and commands such a
level of filial love in his son that Arbace will accept to play the game and
remain silent when he finally knows the plot and his father’s crime, even when
he is accused of this very crime. He commands such a level of authority with
his daughter Semira that she accepts to marry Megabise though she clearly says
she will never love him and Megabise clearly says that what is important for
him is to possess the body named Semira and in no way her love. This vision of
love as a pure sexual commodity is nearly shocking for a modern audience,
though the worse side is Semira’s submission to her father’s decision that
turns her into a sexual sellable valuable and nothing else. And he commands
such authority over Megabise that this latter one accepts to support the plot
just with Semira as the prize of the venture. Yet in the last act Megabise
becomes quite pressing as for the plot because Artabano is wavering because of
the situation of his own son who has escaped his jail and is announced as being
dead, which determines in him a new motivation that is limited since it is to
kill Artaserse, the king, before he can kill himself in expiation of his son’s
death. That love between a father and a son is explored in such detail and
poignancy that we can consider this element as one of the two major themes of
the opera.
The second is
the love between Artaserse and Arbace as we have seen. We could wonder which
one is first and which one is second. But the question is flawed. The two
loving relations and the conflict between these two loving relations are the
heart and core of the opera. And there again the contrast between Artabano, a
tenor, and his son Arbace, a slightly deep countertenor, is perfect both to set
the father in his dominant position of authority and to set the son in a
challenging position that is as submissive as necessary and possible, and yet
represents the man who is going to fail the plot and kill the main associate of
his father. That voice needs to be a countertenor with enough depth to convey
this challenging role. And at the end when Arbace pleads for clemency in the
name of his father with Artaserse the contrast of this slightly deeper voice is
perfect with the rather childlike voice of Artaserse. Note that all along the
opera when Arbace was expressing his despair of being entangled and imprisoned
in a plot he disagreed with and rejected though he had to accept it and support
it since it was coming from his father Franco Fagioli had a vibrating voice
that fitting perfectly that dilemma.
We should add
one more situation having to do with this tenor voice. Artabano is the one who
is going to assist Artaserse in his oath as a king that ends with drinking a
cup of wine. He has poisoned that cup. Artaserse is saved by the announcement
of the rebellion outside. Later when Arbace arrives he is going to swear his
innocence to the Gods with the same cup of wine as the sealing ritual, hence
drinking the wine poisoned by his own father. That’s the element that will trigger
Artabano’s confession to save his son. You can see the strategic position of
this tenor voice in the first oath ritual, the dark voice of the plotting
killer, and then the same strategic position of the tenor voice interrupting
the two countertenors and his own son in that second oath ritual to save his
son and confess his crime. That’s dark indeed and this confession does not
bring any light into the picture of this damned soul. When all that is
understood we can understand the place of the tenor in such a very dark and yet
central position by the fact that we are a long time before Beethoven’s redefinition
of the tenor as the heroic voice of the opera with Fidelio, a new definition
that will triumph in Italy and Germany with Italian operas by Rossini, Verdi
and a few others and with Wagner and later Richard Strauss.
But then we can
wonder about the presence of the two women. They are indispensible to make the
opera acceptable in the 18th century. Semira is only some
exchangeable goods for her father and his co-plotter. But she is also the one
Artaserse loves. Mandane is the one Arbace loves. Are these two loves
negligible? That would be a mistake to believe so.
These two loves
are present at the very beginning of the opera but as soon as Serse’s death is
announced things change very fast and Arbace disappears to be brought back on
the stage as the accused killer. Then Mandane becomes a fury asking for
immediate vengeance without a trial if possible, and when Arbace is sentenced
to death by his own father Semira becomes a second fury demanding the
recognition of her brother’s innocence without any proof, just on the basis of logic
and respect, on the basis of her own certainty. The confrontation of the two in
the third act is such a show of total sectarianism that we wonder if these
women were ever in love. They declare their mutual hatred. Mandane sings, in
tears for her lost love:
“Ungrateful Semira,
I cannot bear
Such hatred, such fury,
From your enraged heart.”
And Semira
sings in her turn, probably in tears herself though maybe with some diatance:
“Madwoman, what have you done? I thought
By expressing my fears I might
Lessen them, but I have only increased them.
I thought I could soothe my heart
By offending Mandane
But I have pierced her heart without healing mine.
It is not true that our own troubles
Are lightened when we see
Another weeping.
For the sight of sorrow
Only prompts us
To further sighing.”
And yet the
only duet of the whole opera will be just one scene later the conclusion of the
confrontation of Mandane and Arbace before Arbace leaves the palace as
Artaserse has ordered him to do. But the structure is complex since we have
first Arbace (3 lines), then Mandane (three lines), six short exchanges between
them and finally the real duet in two parts (two lines + three lines), and then
a coda of the whole section all over again. It is interesting to see the
despair of Arbace and the inflexibility of Mandane at this crucial moment
before Arbace’s departure that will enable him to defeat the rebellion and kill
Megabise.
“ARBACE
You want me to live, my beloved,
But if you deny me your love
You will cause my death.
MANDANE
Oh God, what bitter sorrow!
My blushes should be enough for you;
I cannot say more.
ARBACE
Listen to me …
MANDANE
No
ARBACE
You are …
MANDANE
Out of my sight …
ARBACE
My love …
MANDANE
Leave me, for pity’s sake.
BOTH
Oh gods,
When will your cruelty end?
If through such great sorrow
I do not die of grief,
What is the anguish that can kill?”
I don’t think I
have to explain the extreme ambiguity of the final duet since they both sing
the same thing and for each one of them it has a completely different meaning.
The two women
do not close the opera. The end is the final and long exchange between
Artaserse and Arbace about the necessity and beauty of clemency that exiles
Artabano and this exile saves his life. The love for the women is not even,
alluded to, the possible marriages are not an issue then. Then we can conclude
the two women were there only to prop up, emphasize and amplify the two loving
relations between Artaserse and Arbace on one hand and Arbace and Artabano on
the other hand, the former by setting Mandane on Artaserse’s side and Semira on
Arbace’s side, and the latter by setting Semira on Arbace’s side as Artabano’s
daughter..
Then we can
easily see that the choice of having two countertenors instead of two sopranos
is quite justified since it gets the sexual element out of the picture since
after all this sexual aspect is absolutely minor and secondary. Even in the
voices the feminine presence is eliminated. Then the various one-on-one of
these two women with male characters are not sexual but purely abstract,
mental, political, or ethical. No love is wasted in that opera at all, no love
whatsoever, meaning of course love between a man and a woman and a possible
marriage and sexual encounter. The only marriage that is envisaged ends up with
Arbace killing Megabise, and even so that marriage of Meagbise and Semira was
certainly not a love affair.
Some may say
that gives a gay dimension to this opera and they will be wrong since at no
time is there any mention of such a gay sexual encounter between Artaserse and
Arbace. We will of course consider the relation between Arbace and Artabano has
nothing incestuous in it. In fact we are dealing with a society in which men
have the upper hand in all matters and women are nothing but an everyday
commodity that has to be in conformity and agreement with everyday demands and
requirements. So if they are a commodity in society they cannot be in anyway
put forward. They maybe should be sent back to the harem or the gynaecium.
And what about
the music?
Rich
recitatives and very powerful arias and one admirable duet. These arias express
a tremendous palette of emotions, feelings, passions, mental states, etc. It is
in line with the best music of the 18th century though I would say
it does not have the brilliance of Handel nor the virtuosity of Vivaldi but it
is quite pleasant and engaging for a drama that is absolutely bleak though it
ends in the best Mozartian way though without the love that Mozart was so keen
on singing and expressing everywhere and all the time, I mean the sexual love
between men and women. The main asset of this opera is definitely the
phenomenal use of countertenors who must have been countertenors and castrati
at the time of creation.
Dr Jacques
COULARDEAU
# posted by Dr. Jacques COULARDEAU @ 4:23 AM