The mediatic Polish countertenor Jakub Józef Orlinski he returned to delve into his facet as a lyrical diva with selections of works with a spiritual accent by baroque composers that are very little known today. They are the stars of his latest album, ‘Anima Aeterna’the third collaboration between the singer–who has gained popularity both for his love of ‘skate’ and ‘brake dance’– and The Pomo d’Orowho accompanies him on this tour at the command of Francesco Corti from the key. Orlinski was applauded as soon as he stepped on the stage of a room that he says he loves, but that it is too big for the projection of his voice, since he was often engulfed by the orchestra. This detail was of little interest to his unconditional supporters, who supported him and cheered like a pop star.
Two pieces to discover kicked off the evening, the ‘Gratias agimus tibi’ from Davide Perez’s ‘Messa a 5 voci’ and the aria ‘Non t’amo per il ciel’, from the oratorio ‘Il fonte della salute’ by Johann Joseph Fux . From the motet ‘Barbara dira effera’, by Jan Dismas Zelenka, a litmus test was heard that asks to balance virtuosity and song line and in which Orlinski cannonade in the ‘forte’ with sounds devoid of ‘vibrato’.
An ‘arietta’ by Francesco Bartolomeo Conti opened the second part, which joined, without pause, with great beauty, the aria ‘Giusto Dio’ from the opera ‘La Giuditta’ by Francisco António de Almeida, perhaps the best of the night – that would bisque between five tips–, interpreted with limpid phrasing and subtle ornamentation.
five gifts
From the opera ‘La Betulia liberata’, by Johann Georg Reutter, Orlinski offered the aria ‘D’ogni colpa la colpa maggiore’ full of energy and, as in ‘A che si serbano’ from the oratorio ‘Maria Vergine al Calvario’ of Gaetano Maria Schiassi, was always confident in agility.
Related news
He concluded the program with the great Händelthe ‘Amen, Alleluia’, from the ‘Antiphon in D minor, HWV 269’, a delicate piece that moved the audience before that third part of the night made up of no less than five gifts.
The Pomo d’Oro It dazzled again with its precision and its transparent, virtuous and elegant sound, very attentive to the soloist, but its members were superb in Zelenka’s ‘Overtura a 7 ZWV 188’.