With three warmly received albums (including two reviewed by my colleagues), countertenor Jakub Józef Orliński’s newest effort invites undeniable anticipation. The common denominator across his solo efforts is his unwavering partnership with Il Pomo d’Oro and musicologist Yannis François, whose research here results in a program of 17th-century vocal and instrumental music by Caccini, Strozzi, and Cavalli among others. François’ diligent digging also turned up some unexpected manuscripts which resulted in the inclusion of nine world premiere recordings by lesser known composers including Giovanni Netti and Tomaso Vitali.
A selection from Monteverdi’s L’incoronazione di Poppea opens the set: the light, refreshing orchestral interlude features fine blending between the string and continuo instruments. As for Orliński, he makes clear he has a wide range of vocal profiles at his fingertips. The major sections, in which he balances a resonant yet supple sound, are as equally effective as the more turbulent minor ones—there, he’s able to communicate the right amount of urgency within idiomatic restraint. What brings the different sections and characters of the area together is his envious sostenuto which never fails even in the most intricate vocal flutters and dotted rhythms. An interesting comparison is Carlo Vitoli’s Ottone (with William Christie/Les Arts Florissants). I found Vitoli’s vibratos much more prevalent and, with a slightly heavier timbre, his portrayal of the character takes on an almost regal profile.
As arguably the most famous of Giulio Caccini’s solo madrigals, Amarilli (track 4) was a selection I looked forward to—and the wait was well worth it. The lute is not to be discounted as mere accompaniment but as a critical part of an intimate dialogue with the singer. I was struck by how pristine yet expressive the duo’s rendition is: the strummed instrument’s transparent tone complements the countertenor’s finesse. Part of what drives the interpretative magic is Orliński’s beautiful dynamic shading: 2’33” is a high point, not for its intensity but for the unexpected and breathtaking shift to the gentlest pianissimo. This level of detail and sensitivity can also be heard in his mindfully shaped phrases. With a balanced beginning, middle, and ends, each arc feels like a fully communicated idea.
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Of the world premieres, Netti’s “La Filli” (tracks 15 – 18) offers four samplings—I call them such because each work is regretfully short, given the composer’s captivating emotive language. Nevertheless, the singer and ensemble make the most of the dearth of material. The dolefulness of Misero Core (15) comes out in several shades, thanks to Orliński’s versatility: his upper register singing communicates its sharp anguish with piercing high notes. His lower register, meanwhile, sounds more velvety but speaks to more of a throbbing pain.
Datti pace (16) is delightfully virtuosic. The ensemble is kept busy but delivers, from the sprightly rhythms from the low strings and continuo (don’t miss the sweeping scales at 0’54”) to the dance-like figures in the upper voices. I did wish the singer had a little more vivacity to match up to the instrumentalists’, but the energy is still palpable. Dolcissimo catene (18) derives is poignancy in part from the back and forth between the voice and violins, both of which imbue poignant tension into their melodies.
As for the instrumental works, it was hard to resist repeated listens of Polish Baroque composer Adam Jarzębski’s Tamburetta (track 24). From the curation standpoint, I found this a meaningful addition that offered perspective on Baroque music outside of the regions we might be more familiar with. We can hear a folk element in the infectious driving rhythms and invigorating character. What I found the ensemble did very nicely was to contour a long-term buildup of energy: things start off bright and pastoral but the insistence of the bass sections sounds like the growing drumming of feet. By the end, things are satisfyingly robust and above all, joyful.
Orliński and Il Pomo d’Oro present a thoughtfully conceived and masterfully executed performance. I found the inclusion of the world premieres a refreshing reminder that so much good music from the past still remains to be unearthed. This is an illuminating listen and wonderful addition to the previous fine volumes from this partnership.
Beyond
Jakub Józef Orliński – Countertenor
Il Pomo d’Oro
Erato, CD 5419772645
Related Albums
L’incoronazione Di Poppea – Christie | Strozzi | Vivaldi Stabat Mater – Orliński | Farewells – Orliński
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