Aveline Kirana
At the age of 80, René Jacobs continues to cement his legacy as a preeminent interpreter of Baroque opera, a fact underscored by his recent, deeply resonant concert presentation of Antonio Vivaldi’s "Il Giustino" in Heidelberg. Following a critically acclaimed staged production in 2022 with the Berlin Staatsoper Unter den Linden and Akamus, Jacobs has revisited this intricate 1724 opera, this time embarking on a European concert tour in collaboration with the esteemed Freiburger Barockorchester. The performance, held within the stately confines of Heidelberg’s Konzerthaus Stadthalle, an architectural gem of red sandstone, proved to be an artistic triumph, leaving the audience grappling with the inadequacy of mere words to encapsulate its profound impact.
A Masterclass in Operatic Dramaturgy and Editorial Acumen
"Il Giustino," with its sprawling narrative and numerous characters, presents a significant challenge for modern performance. A complete rendition can easily extend beyond five hours. René Jacobs, a scholar with the depth of a philologist and the discerning taste of an opera connoisseur, applied his characteristic editorial precision. This meticulous pruning, while perhaps leaving some patrons wishing for more of Robin Johannsen’s Leocasta, resulted in a remarkably lucid and engaging presentation of the opera’s complex Byzantine plot.
Even within the constraints of a concertante format, Jacobs orchestrated a masterclass in dramaturgy. Employing minimal props and judicious costume changes, he rendered the opera’s central themes of fortune’s caprice and the rise and fall of power with immediate, often witty, clarity. Visual transformations effectively mirrored the narrative arc: Arianna and Vitaliano shed their regal attire for the simplicity of captives, Giustino evolved from a humble plowman symbolized by a straw hat to a military leader marked by a blue uniform bearing a Christian cross, and the treacherous Amanzio, upon seizing power, exchanged his courtly garments for a severe military uniform. Bathed in the evocative lighting of the Wolfgang-Marguerre-Saal, these visual cues powerfully illustrated the unpredictable turning of La Fortuna’s wheel.
The Byzantine Tapestry: A Stellar Vocal Ensemble
The role of Giustino, a part originally conceived for castrato, was taken by Rémy Brès-Feuillet, whose meteoric rise, notably marked by his victory at the Farinelli Competition in Karlsruhe, was evident in his deeply convincing portrayal. Brès-Feuillet navigated Giustino’s transformation from a simple peasant to a resolute warrior with touching sincerity. His vocal performance exhibited a structural integrity and maturity that belied his years, lending an unwavering believability to Giustino’s steadfast loyalty amidst the machinations of the imperial court. Opposite him, Robin Johannsen brought a youthful verve and coloratura brilliance to the role of Leocasta. Despite her curtailed stage presence, Johannsen’s flawless breath control and firm characterization, particularly during the empire’s darkest hours, provided the crucial impetus for Giustino’s eventual triumph.
Jacobs’s frequent collaborators, Olivia Vermeulen as Anastasio and Kateryna Kasper as Arianna/La Fortuna, further illuminated the performance. Vermeulen, whose voice possesses a settled, warm, and grounded timbre, imbued Anastasio with a calculated regal dignity. This vocal stability made her subsequent descent into the raw, visceral jealousy of a husband misled by deceit all the more impactful. In contrast, Kasper as Arianna was a beacon of luminous vocalism and emotional resilience. The duets between Vermeulen and Kasper, particularly those with Vivaldi’s captivating writing, were a vocal feast, showcasing an artistic brilliance that resonated deeply. Kasper’s signature arias, in particular, allowed her radiant upper register to ascend with breathtaking freedom. Jacobs’s decision to conclude the first half of the performance with Arianna’s celebrated aria, "Per noi soave e bella," served as a profound testament to Kasper’s exceptional vocal gifts.
Siyabonga Maqungo, as the antagonist Vitaliano, commanded attention with a formidable and finely chiselled vocal presence. He masterfully balanced the inherent cruelty of his character, evident in his chilling treatment of Arianna, with a final, dignified acknowledgment of his familial connection to Giustino. Mark Milhofer, portraying the ambitious Amanzio, delivered a theatrical tour de force. His journey from cautious intrigue to the ecstatic delusion of a successful coup, culminating in a despondent fall from grace, was utterly captivating. For Amanzio’s coronation scene, Jacobs provided Milhofer with ample dramatic space to revel in his character’s treachery. At the musical apex of this scene, the lights of the entire Konzerthaus were abruptly dimmed to a somber gloom, a brilliantly conceived dramatic stroke that visually underscored the illegitimacy of Amanzio’s reign.
The legendary Sonia Prina, renowned for her distinctive contralto with its masculine timbre, made a significant impact as Andronico, a character disguised as a woman. Entrusted with much of the opera’s comic relief, Prina’s veteran stagecraft was once again demonstrably effective. Francesc Ortega Martí rounded out the principal cast, transforming the relatively minor role of Polidarte into a sharp and memorable portrait of a loyal henchman. The casting throughout the ensemble was impeccable, with each singer perfectly suited to their respective roles, culminating in a performance that left nothing to be desired, and a brief, joyous lieto fine chorus that served as the most fitting of conclusions.
The Freiburger Barockorchester: A Sonic Revelation
René Jacobs’s discerning eye for talent extends seamlessly to his instrumental partners. The Freiburger Barockorchester responded with unparalleled sensitivity throughout the performance, from the colorful interjections of the basso continuo to the nuanced atmospheric shifts within the instrumental sinfonie. Within this rich sonic tapestry, the various woodwind and brass instruments were afforded ample opportunity for expressive individual contributions, their distinct timbres effectively heightening the martial and pastoral colors inherent in Vivaldi’s score. While the famous aria accompanied by a psaltery was here rendered on the harp – a practical yet convincing substitution – the effect remained otherworldly. Jacobs’s bold decision to replace Vivaldi’s original overture with one by Caldara proved inspired, successfully establishing the regal atmosphere essential for the opera’s opening scenes.
Context and Broader Impact
The performance in Heidelberg is part of a broader resurgence of interest in the operatic works of Antonio Vivaldi, often overshadowed by his prodigious output of concertos. Vivaldi composed over 90 operas during his lifetime, yet only a fraction are regularly performed today. "Il Giustino," based on a libretto by Nicolò Beregan, itself drawn from historical accounts of the Eastern Roman Empire, is characteristic of the era’s dramatic conventions, blending historical figures with dramatic license to explore themes of power, fate, and virtue. Jacobs’s sustained commitment to bringing these works to life, coupled with his scholarly approach to interpretation, plays a crucial role in re-evaluating Vivaldi’s dramatic oeuvre.
The concert tour represents a significant investment in Baroque opera by both Jacobs and the Freiburger Barockorchester. Such undertakings require substantial logistical planning and financial backing, underscoring a commitment to preserving and promoting early music for contemporary audiences. The success of this performance in Heidelberg, a city with a rich cultural heritage, signifies the enduring appeal of live Baroque opera when presented with such artistic integrity and visionary direction.
A Legacy Affirmed
Even by the exceptionally high standards René Jacobs has consistently set for himself and his ensembles, this over three-hour performance was an extraordinary achievement. It was an evening where every constituent element – the music, the dramatic interpretation, and the architectural setting – coalesced into a singular, profound experience. The concert demonstrated, with irrefutable clarity, that in the hands of a true master like René Jacobs, Vivaldi’s operas possess the power to captivate and move modern audiences, and thus deserve a far more prominent place in the contemporary Baroque performance landscape. The enthusiastic reception suggests that demand for such meticulously crafted historical performance remains robust, offering a promising outlook for the continued exploration and appreciation of Vivaldi’s dramatic genius.
