Review: Carlo Vistoli in Amori e danze – an all-Handel evening at Pavia’s Teatro Fraschini

Carlo Vistoli, a countertenor slowly ascending to international recognition, delivered a compelling recital of Handel’s works at Teatro Fraschini in Pavia. Despite battling a cold, Vistoli’s performance navigated a challenging program with poise and artistic depth, revealing his growing stature in Baroque opera.

Having debuted on stage over a decade ago, Vistoli’s career gained momentum in recent years through collaborations with prominent ensembles like Les Arts Florissants and the English Baroque Soloists. His appearances at major festivals, including Salzburg in 2018, and prestigious venues such as La Scala Milan, Vienna Staatsoper, and London’s Royal Opera House, have steadily built his profile.

His connection with celebrated mezzo-soprano Cecilia Bartoli notably raised his visibility. Performing Pergolesi’s Stabat Mater alongside Bartoli on tour in 2021, and later sharing the stage in Michieletto’s production of Alcina in Florence, Vistoli demonstrated his vocal versatility. These engagements culminated in a 2023 concert tour of Handel’s Giulio Cesare, followed by a 2024 production in Monte Carlo.

At Pavia, Vistoli was accompanied by conductor Giulio Prandi leading Orchestra Ghislieri in a program titled Amori e danze. While the title might initially seem unusual, it reflected the essence of Handel’s music, where dance rhythms subtly underpin the vocal and instrumental lines. Across an hour and forty minutes without intermission, the program traversed arias from Partenope, Agrippina, Ariodante, Alcina, Rinaldo, and Amadigi di Gaula.

Vistoli’s command of Handel’s intricate coloratura passages was evident, yet his ability to infuse quieter, pianissimo moments with intense emotional force distinguished his artistry. His vocal technique combined a captivating vibrato with impeccable trills, creating moments of profound expressivity. The rendition of “Scherza infida” from Ariodante was particularly moving, eliciting a palpable emotional response.

The concert’s climax featured “Se in fiorito ameno prato” from Giulio Cesare, showcasing a spirited interplay between Vistoli and orchestra leader Marco Bianchi. Their musical exchange unfolded as a lively contest of virtuosity, with the theorbo, played by Giulio Falzone, and wind instruments performed by Priska Comploi, adding textural richness to the performance.

Giulio Prandi’s conducting style favored warmth over sharpness, providing a supportive sonic environment that complemented Vistoli’s voice. His enthusiasm for the ensemble’s collective effort was evident, encouraging audience recognition of individual musicians' contributions, which highlighted the collaborative nature of Baroque performance.

The program concluded with two encores: a rendition of “Lascia la spina, cogli la rosa” from Il trionfo del tempo e del disinganno and “Più bella spoglia sarà fral’” from Deborah. The latter, drawn from Vistoli’s recent album focused on Handel’s Italian oratorios and the castrato repertoire, was delivered with disarming simplicity, offering a contemplative closure rather than a display of technical prowess.

Vistoli’s recent discography underscores his commitment to Baroque music, with recordings of Vivaldi’s Sacro furore alongside the Akademie für Alte Musik Berlin, and collaborations with Les Arts Florissants on Baroque arias. His interpretations of Handel’s oratorios, particularly the Italian translations originally adapted for castrati, reveal his dedication to historically informed performance practices.

This concert at Teatro Fraschini not only highlighted Carlo Vistoli’s evolving artistry but also reaffirmed the enduring vitality of Handel’s music when interpreted with sensitivity and technical assurance. The event, as reported by gramilano.com, marks a significant moment in Vistoli’s steady artistic ascent and his growing influence in the Baroque opera landscape.