Music Reviews : A Rare Handel Pastoral Opera in Santa Monica

Seldom performed, Handel’s pastoral opera, “Il Pastor Fido” (The Faithful Shepherd), focuses on the amorous goings-on of various mythical country folk.

And, as Howard Posner’s informative program notes for the modest production given Friday night at St. Paul’s Lutheran Church in Santa Monica pointed out, such a work was “meant to charm, not overpower, the audience.”

While this concert performance by the Los Angeles Baroque Orchestra of Handel’s initial 1712 version did in many ways charm, it was difficult for the listener to transport himself to the fields of Arcadia.

One can understand the financial impossibility of mounting a staged production of the work. But it proved impossible to make any sense of the plot without burying one’s eyes in the libretto. It also took a while to deduce (no mention of this in the notes) that the role of Mirtillo, originally for a castrato soprano, was being sung by a woman.

But it was perhaps a mistake to worry about plot. After all, Handel’s own audience concerned itself little with the words of a language they did not understand; they came to hear beautiful singing.

Those who came to hear singing on Friday were generously rewarded. Soprano Kari Windingstat, substituting for Mary Rawcliffe on a day’s notice, brought a sweet and limpid tone and superbly artful phrasing, though little apparent emotion, to the role of Mirtillo.

Soprano Catherine McCord Larsen, as the scheming Eurilla, sang with technical agility and a pure, suave sound. As Eurilla’s rival, Amarilli, soprano Susan Judy conveyed emotions effectively and sang with consistent polish and style.

Contralto Sondra Stowe, whose singing and countenance were fraught with telling emotion, sang the role of Dorinda with vibrancy and expressive drama, and countertenor Lawrence Lipnik proved equally convincing as Dorinda’s lover, Silvio. Bass Edward Levy delivered the role of Tirenio with authority.

Sound projection and balances were satisfactory throughout the hall, though the acoustics of the church sanctuary made words difficult to understand in the back.

Gregory Maldonado conducted an exceedingly polished and rhythmically secure orchestra from the first violinist’s stand.