Australian Brandenburg Orchestra | Handel’s House
August 30, 2024, City Recital Hall, Sydney
As a self confessed Handel fan girl, the ABO’s opening night of Handel’s House at the City Recital Hall was one Baroque spectacle I was not going to miss. Under the dynamic leadership of Artistic Director Paul Dyer, the evening kicked off with the overture from Handel’s Rinaldo. Dyer, conducting from the harpsichord, infused the performance with his trademark flamboyance. The overture was fast-paced and exhilarating, with concert master Shaun Lee-Chen’s violin delivering almost languid feeling solo flourishes that added an interesting contrast to the galloping energy of the orchestra. A great start.
The highlight of the first half was undoubtedly the appearance of Japanese soprano Yukie Sato, who made her entrance in a stunning opalescent gown that sparkled under the soft lighting, eliciting an audible gasp from the audience. Her rendition of the recit “Pure del cielo” and aria “Tu Ciel ministro eletto” from Handel’s Il trionfo del Tempo e del Disinganno was nothing short of sublime. Sato’s voice, pure and restrained, was perfectly pitched with the orchestra, each note filled with yearning and regret and her pianissimo phrases were masterful. This marked her first performance outside Japan since 2020, a momentous occasion handled with the utmost grace and poise. Her infectious sweetness resonated throughout the hall, captivating everyone in attendance.
The concert transitioned seamlessly into the first movement of Johann Georg Pisendel’s Violin Concerto in D major. This piece, reminiscent of Vivaldi, featured a violin solo that was both birdlike and expressive. The ensemble’s dramatic presence and synchronicity were on full display.
Yukie Sato returned to the stage for the recitative and aria “Ah! Ruggiero, crudel!… Ombre pallide” from Handel’s Alcina. Her performance was breathtakingly controlled, with each note and gesture meticulously crafted. The ornamentation was pristine, and Sato’s portrayal of the character’s emotional turmoil was quite moving, drawing huge applause from the audience.
A sweet interlude of Vivaldi followed with the second movement of his Violin Concerto in G major, offering a moment of reflection before the next showcase of Sato’s vocal prowess. In the aria “Dopo notte” from Handel’s Ariodante, Sato displayed her incredible coloratura and vocal range, especially impressive considering the piece was originally written for a castrato. Handel’s exploitation of the vocal range was masterfully handled by Sato, who made the challenging passages feel effortless.
After the interval, the orchestra returned with the final two movements of Pisendel’s Violin Concerto. The contrasting dance-like yet serious nature of these movements was reflected in the soloist’s poised stance, highlighting their ensemble skills. The addition of horns added texture and excitement, but it was the subtlety of the theorbo, cello, and bass continuo that I think truly shone, their support vital to the piece’s overall impact. I loved the visual appeal of the two theorbos, long necks rising, centre stage.
After the previous ABO program, which featured more theatrical elements, this performance was purely focused on the music and voice. Sato’s performance of the arias “L’amor ed il destin” from Handel’s Partenope and “M’allontano, sdegnose pupille” from Atalanta brought a shift in tone. Sato, now in a glamorous red gown, delivered the aria with poignant emotion, her small, plaintive movements perfectly mirroring the sentiment of the work.
The penultimate piece, Vivaldi’s Concerto con molti strumenti in F major, was a familiar yet invigorating experience. The horns, oboes, and bassoons brought a dramatic flair that resonated, in my ears at least, with many echoes of The Four Seasons. Is it just me? The cello, in particular, had a chance to shine with soloistic part in the third movement, adding a refreshing twist to the ensemble.
The concert concluded with Handel’s aria “Tornami a vagheggiar” from Alcina, a piece that pushed the boundaries of vocal technique at the time of its writing. Sato’s performance was at once both playful and expert, her movement to the edge of the stage, where she sat with her gown draped suggestively, added a layer of drama and intimacy. Her ability to connect with the audience was undeniable; they gasped, laughed, and felt every emotion alongside her.
As a final treat, Sato graced us with an encore! The beautiful “Lascia ch’io pianga” from Rinaldo. The City Recital Hall once again proved to be a fantastic setting for such an exquisite evening of music. The Australian Brandenburg Orchestra and Yukie Sato delivered a performance that was not only technically superb but emotionally resonant – a real celebration of Handel’s enduring legacy.
Photo Credit: Keith Saunders
