It is well known that in times of uncertainty and confusion, music can help provide an alternative outlook on life. This proved to be particularly true at the Auditorium Parco della Musica in Rome, where Haydn’s Creation oratorio gave the audience more than one reason to lift their spirits. Under the baton of Sir John Eliot Gardiner, Haydn’s score radiated a brightness which spread through the entire concert hall.
By combining several text sources, the piece reenacts the seven days of creation as told by the Book of Genesis, but a strong Enlightenment streak is also evident in its emphasis on order and balance. In fact, the message that is conveyed in The Creation can be shared by believers and non-believers alike: its journey from the muddle of the original Chaos to the contentment of a harmonious existence may not be a given fact, but it is certainly an ideal we can strive for. It was probably to help the understanding of the meaning of the work that the performance was sung in Italian, using the 1801 translation by Giuseppe Carpani.
Famously inspired by Handel’s grand oratorios, Haydn too decided to employ a large instrumental and vocal ensemble comprising three soloists and a chorus. However, coordinating such forces did not seem to be an onerous task to Gardiner. As he led the Orchestra and Chorus of the Accademia Nazionale di Santa Cecilia through the score, the conductor made it clear that he was in his natural habitat. His control of the score never displayed a moment of weakness; his gestures, pronounced but never excessive, guided the musicians with perfect balance.
Gardiner’s interpretation was neither overly contemplative nor unreasonably tense – if anything, it was vivacious. At the very beginning, he took no fear in lingering in the charged, suspended atmosphere of the Prelude. But it was with the coming of the light that the dramatic arc was set in motion. A sense of marvelous awe was tangible as the succession of recitatives and arias unfolded: episodes such as the rising of the sun, or the delightful tone painting that marks the appearance of animals, sounded as if filtered through the gaze of someone who sees such things for the first time and stands in excited wonder. Despite its size, the orchestra’s briskness and malleability were remarkable, exhibiting a firmness and composure that were ideal for Haydn’s score.
Bass Roberto Lorenzi stood out in the double role of Raphael and Adam. It was interesting to see how the singer’s careful, nuanced phrasing shaped each character differently: the former authoritative and imperious, the latter smooth and gentle. Opposite him as Gabriel and Eve was soprano Lenneke Ruiten. Ruiten’s secure breath control made it possible for her to sing fioriture with great dynamic variety, allowing for some good pianissimi. Her rendition of the roles was not as multifaceted, but it was still pleasant. Completing the cast of soloists, young tenor Giovanni Sala aptly sang Uriele. His voice, although not voluminous, was well projected and proved fit for the role.
One last remark has to be made about the Chorus, whose fullness and precision, especially during the fugues, were not impaired by the due social distancing. Their voices merged with a nice, mellow quality. Such a fortunate combination of factors made the night one to remember, especially thanks to Gardiner’s exceptional conducting.
