René Jacobs and Sunhae Im: these two names alone set high expectations for an evening of Baroque musical drama at its finest. When you add Handel’s early masterpiece Il trionfo del Tempo e del Disinganno to the equation, quality seems almost guaranteed. However, the choice of venue here proved a significant challenge. The Reinoldihaus in Dortmund has dry, unresonant acoustics akin to a conference room. This posed a problem for Jacobs, making his KlangVokal debut with B’Rock Orchestra. Instead of compensating for the lack of natural reverberation with warmth and fluid phrasing, Jacobs chose a sharply contrasted dynamic approach which exposed the orchestra’s tonal harshness, making some passages feel jagged rather than organically shaped.
One particularly underwhelming aspect was the violin solo sections, likely composed as a tribute to Arcangelo Corelli, who led the oratorio’s 1707 premiere. These should shimmer with elegance and depth. Instead, they felt flat, missing improvisatory flair. However, the continuo section compensated more than beautifully, the cellist providing a solid foundation and seamless transitions. The keyboardists on organ and harpsichord were consistently energetic, while harp solos were equally involving. The basso continuo’s outstanding performance brought countless delicate and cultured moments, evoking the exquisite taste of Rome’s Palazzo Pamphilj. One cannot help imagining the refined atmosphere that once captivated the young Handel.
Even if the orchestra did not fully meet Jacobs’ usual extraordinary standard, Sunhae Im ensured the evening remained a great musical treat. She maintained her signature clarity and elasticity of tone, bringing remarkable naturalness to every da Capo aria with effortless and organic phrasing. Most impressive was her portrayal of Bellezza’s psychological evolution, from the naive, self-indulgent figure seduced by Piacere, to moments of profound introspection and ultimate spiritual realisation. This transformation was visually enhanced by her costume shift from an elaborate outfit to a pure white, serene style in Part 2. Her final aria suspended the hall in awed silence, the audience barely daring to breathe.
Kateryna Kasper (Piacere) provided a compelling companion, her voice, more heroic and solid, contrasting beautifully with Im’s crystalline soprano. Their duets were among the evening’s highlights, offering a delightful interplay of vocal colours. Kasper handled her virtuosic passages with technical ease, her rapid coloratura delivered effortlessly, with great musical intelligence. Her command of the role, especially in the famous aria later recycled in Rinaldo, reflected an artist at the height of her interpretative powers.
Unfortunately, the male soloists failed to meet the same standard. Countertenor Paul Figuier (Disinganno) struggled with rhythmic stability and breath control. While he found his footing in some lyrical sections, much of his performance felt lacking in persuasive authority. Tenor Thomas Walker (Tempo) leaned towards excessive force, at times verging on shouting rather than projecting with control. His attempts at dramatic emphasis – including forceful stomping – felt out of place in such a refined work. In quartet sections, their voices clashed rather than blended with the far more polished female singers.
For dedicated followers of the two sopranos, this was a thrilling evening. B’Rock's continuo section, with its imaginative performance, created a delicate aura reminiscent of a chamber cantata within this large-scale oratorio. The venue may have limited this performance acoustically, but from a historical perspective, Handel’s original audience in Baroque Rome did not hear this oratorio in purpose-built opera houses either, but in the palazzi of Roman noble families. This oratorio depended on a few outstanding female stars to elevate its appeal, especially when opera itself was literally banned in papal Rome. As listeners, perhaps we must also embrace the imperfections of live performance, letting go of rigid expectations to fully appreciate the unrepeatable magic of the moment.
