Above: Sopranista Samuel Mariño performed Italian Arias from six Handel operas with Australian Brandenburg Orchestra. Image: Laura Manariti
Soprano Samuel Mariño last graced our stages in 2022 and the response was huge. Hearing this rare, true soprano voice live from the charismatic dancer-turned-singer is a total treat. As with any musician that is in total control of their instrument, the resulting performance launches into the stratosphere of joyous interpretation.
No note is too high for Mariño, whose much awarded and anticipated interpretative mettle, inimitable outfits and deep emotional focus is unparallelled on the global concert stage.
Sydney and Melbourne have been fortunate to have this spontaneous singer back- enjoying the fruits of his training, escalating career, adoration and ability to sing seven Handel arias plus two encores.
Above: Artistic Director of Australian Brandenburg Orchestra, Paul Dyer AO
Australian Brandenburg Orchestra, with Artistic Director Paul Dyer conducting mostly from the harpsichord, was a formidable match for the energy, effortless Baroque ornamentation and seamless soaring through some fierce and fiendishly difficult stage songs.
Not to be outdone or just in the role of superb sympathetic accompanist, ABO delivered Handel’s overtures to the opera Alcina HMV 34 as well as the controversial oratorio Semele HMV 58. These dynamic atmospheres were well handled by the orchestra, endearing us to Handel’s dense energy and musical shaping of orchestral gestures as well as the drama he furnished star singers with via opportunities for display in his da capo arias.
Australian Brandenburg Orchestra, in dedicated diva mode, was able in this programme to show off its pearlescent musicology, plus its secure commitment to the Baroque era. Two likeable Australian premieres of orchestral music by Handel’s contemporaries were heard.
Above: Members of Australian Brandenburg Orchestra with Artistic Director Paul Dyer AO
The compelling three-movement Sinfonia from ‘Joaz’ S 692 (1727) from government official/composer Benedetto Marcello was introduced with exciting shape, colour and dramatic edge. This was a welcome premiere from Marcello’s Lenten oratorio and from a man who mentored one of the superstar sopranos of the time, Faustina Bordoni.
This singer married the superstar opera composer of the time, Johann Adolf Hasse. One of this recently revived Sinfonias, Sinfonia a quattro in G minor Op 5. No 6 was the second Australian premiere. It was perfect fare for this virtuosic opera concert, and rocketed along in detailed, dramatic swathes in the hands of the ABO players.
The scintillating versions of Handel arias by Samuel Mariño displayed why he is so sought after worldwide as a concert and operatic stage presence. Presenting some of the major emotional soprano roles from Handel’s stories, he went way past the filigree, the need for fine phrasing, stamina and even seamlessly decorated unfolding of the textual repetitions alone, above ABO’s fine tapestry.
A totally outstanding emotional tessitura however came with his portrayal of the manipulative but fearful and lovestruck Cleopatra in ‘Che sento? oh dio! – Se pietà’ from Giulio Cesare in Egitto. For a concert performance this was chillingly transportive, with an otherwordly focus.
The slow build in tension and descent into almost despair was exquisitely handled. The da capo elaborations were stunning, accompanied again with subtlety by the orchestra. This singer dropped to the floor in total control of the operatic scene which had unfolded floating out to us in a measured, believable moment.
Other chances in the programme to hear Samuel sing showed off his secure, flexible instrument, with safe leaps to and from the upper register, svelte decoration and seemingly effortless runs being the order of the day. His innate ability to convey emotional contrast, plus his silky vocal timbre was always impressive as we looked swathed in gorgeously atypical and eye-catching costume.
Above: Samuel Mariño in concert. Lighting design for this concert was by Ryan McDonald. Image: Laura Manariti
As well as a remarkable clarity of line, a directness of comment and character’s predicament was present in the simile arias Scoglia d’immota fronte (from Handel’s Scipione) and the final testament to bravery in captivity during Scherza in mar la navicella (from Lotario). Samuel Mariño has plentiful resources and colours with which to paint the scenes of a woman escaping a predator or surviving incarceration, being compared in the text and musical gesturing to a rock or mountain or a boat at sea all pounded by the elements.
The necessary excitement for each heroine’s self-portrait was delivered with inexhaustible energy from the visiting vocal virtuoso- carrying on the legacy of divas from Handel’s time. A beautiful part of watching this loved singer on stage was to witness the genuine rapport and sharing of jokes, musical display and intensity of storytelling through communication in physical and musical interaction with Paul Dyer and various Brandenburg Principals.
As well as the emotionally driven aria by Rodelinda hoping for her husband’s safe return (from Rodelinda, regina de’Longobardi) we later hear the later graveside aria Ombre plainte, where the soprano sighs alternate with the orchestral violin. The fierce aria Ma quando tornerai from Alcina, is devoured by Samuel Mariño with orchestra adding to the drama. This is reflected in the sorceress Melissa’s aria from Amadigi di Gaula.
Collaboration and competition between vocalist with solo trumpet (Alexandra Bieri) and oboe (Adam Masters) was humorous, harrowing and happy in this concert, showcasing the agility, musicianship and comaraderie available. Following the final simile aria from Lotario, during which the guest soprano danced on high heels as if a boat in the sea from the text, the encores offered included the duelling of more baroque oboe and firecracker vocal lines.
Also gifted to all before leaving the stage was Mariño’s version of Lascio ch’io pianga. This favourite from Handel’s Rinaldo was a perfect conclusion to a concert jam packed with Handel’s scenas. This supersubtle, special version confirmed this soprano’s depth of talent, communication and generosity. It showcased an ability for elevated interpretation of even overheard classics, weaving a personal, remarkably hued spell over the music we will not forget in a hurry.
We look forward molto to this global sensation’s next dazzling descent Down Under.
