Comim, Flavio

Flavio Boltro is undoubtedly one of the greatest representatives of the jazz trumpet in Europe. Michel Petrucciani understood this very well by calling him to be part of one of his best bands. Flavio is a creative in the true sense of the word: he knows how to create his own music. Far from being content to play a piece, he gives life to it! For Flavio, live reproduction of existing music is not enough, it must be transfigured. It's as if he painted each note with his personal vision of the world.

Flavio comes from a fertile period in Handel's output, but despite the presence of Cuzzoni and Senesino, two of the most important and lauded singers of the day, it flopped when first presented in 1723. This is probably due to the fact that it's a comedy that turns tragic before ending happily–and London audiences simply couldn't get their heads around such a thing. Whatever the case, it contains aria after aria, with a duet thrown in–and each one is short, to the point, and always entertaining. The instrumental textures are never complex–and the rhythms, mostly upbeat, keep the opera moving at an almost sitcom pace. I won't go into the plot because it's not that hard to follow, but rest assured that this performance is dynamite.

Early music specialists are still working through the wealth of Handel operas that began coming more to light in the late 20th century. Flavio, Rè di Longobardi remains one of his more obscure works. Its musical variety and richness make it a piece that deserves more attention and this excellent recording in Chandos' series of Baroque operas featuring Christian Curnyn and Early Opera Company makes a strong case for it. The plot, like that of many of Handel's operas, is convoluted to the point of being indecipherable, but each of the characters is carefully drawn. These singers invest each one with an incisive dramatic distinctiveness, and their voices are different enough that here is never in doubt as to which characters are singing. Curnyn leads a superb cast in an elegant performance.

This CD will be best appreciated by those who admire the 'authentic performance movement' in baroque music. Christofellis's voice isn't what I call beautiful, but their is no denying that his ability is extraordinary, if not bizarre. The highlight for me is the sublime 'Lieto cosi tal volta' from Pergolesi's little-known opera Adriano in Siria and I recommend buying the CD for this aria alone. Christofellis is also a musicologist and it is interesting to hear an informed take on musical issues such as ornamentation. Anyone wondering what the castrati may have sounded like can get a pretty good idea from this recording.