While looking up the DVD of an Orfeo performance in order to comment on one
of my own recent posts, I read a reviewer complaint about the ornaments that
countertenor Jochen Kowalski added to "Che faro..." So of course I had to track it down and listen to it (the aria starts at about 3 minutes in):
I didn't find it too bad. But I understood the reviewer's concern. I had a similar initial reaction while listening to Franco Fagioli in a gorgeous concert performance broadcast not long ago.
Just as the (in)famous aria (variously known as "Amour, viens rendre," "L'Espoir Renaît Dans Mon Âme," and "Addio, miei sospiri") seems out of place, Mr Fagioli's ornamentation sounded a little anti-Gluck. I found it somewhat jarring. (On rehearing, I find I'm not as bothered by it any more.)
However, I do feel that Che faro really doesn't need any embellishment; it's perfect as is. (Although other singers have added a trill or a few appoggiaturas here and there, which never seemed out of place.) So this made me wonder what Gluck, opera "reformists," and other opera lovers would think about these additions.
- Are these ornaments out of character?
- Are they anti-Reform?
- Are they fine as long as they're tastefully done (a subjective call, at best)?
- Should singers (and conductors) refrain from ornamenting Gluck – ever?
- Should we just relax and enjoy the lovely singing?
Please feel free to discuss. Use other side of paper if necessary.
