Voices that inspire me
Comments that have left their mark
In the church of the Monestir de Sant Feliu de Guíxols, hardly suitable for this type of evening and under truly stifling heat, the third concert given by Europa Galante as part of the veteran Porta Ferrada Festival brought the audience together for a session of Italian Baroque centered on a rare selection of Vivaldian opera arias, interspersed with instrumental pieces by the small ensemble conducted by Fabio Biondi.
Constantly checking their tuning, Europa Galante opened the performance with the characteristic verve of their interpretation of Vivaldi’s Sonata for Two Violins and Continuo, “La Follia”: string leaps, legato, a continuum of power and staccato articulation, and a narrative sense starched by remarkable textural clarity. Added to this was Biondi’s leadership from the first violin, whose control and communication with the other musicians through eye contact and body language sustained the momentum without sacrificing flexibility. This approach was equally evident in Michele Mascitti’s Concerto a 7 in A major and Pugnani’s Sinfonia in B-flat major, where the ensemble once again displayed solid ensemble work and meticulous articulation across its four contrasting movements.
For her part, as a major draw of the evening, Tina Gorina confirmed that the Baroque repertoire suits her vocal qualities exceptionally well. She presented the credentials that justify Biondi’s trust in her over recent years for overseas projects and recordings of works such as Moniuszko’s Halka and Verdi’s Un giorno di regno. She began with an aria of lyrical inclination rather than vocal pyrotechnics, Geminiano Giacomelli’s «Sposa son disprezzata» from Merope, highlighting her fine line, phrasing, and excellent vocal form by contrasting the tripartite da capo structure—a more declaimed central section set against the elegiac nature of the first and third parts.
This was followed by Vivaldi’s aria “Fra catene,” expertly supported by coloratura prowess, a refined vibrato, and clear delineation of the ornamental rhythmic flourishes in the middle section. She added remarkable consistency across her entire range, featuring high staccato leaps of great precision and zero harshness, which began to energize the audience. This set the stage for a masterful delivery of “Amato ben” from Ercole sul Termodonte and “Spesso fra vaghe rose” from Bajazet. While in the former she displayed an intelligent cadential sense of phrasing at section ends combined with precise diction from well-studied articulation, in the latter she earned a standing ovation for her mastery of coloratura and expressiveness. The cadence culminated in a high D attacked without a trace of harshness, sustained smoothly without strain, showcasing a style free of mannerisms and a vocal condition that makes one wonder why a singer of her caliber does not appear more frequently in Spanish theaters.
The program closed with Händel’s “Lascia ch’io pianga” from Rinaldo, rendered with nuanced variations in each strophic repetition aligning with the period’s rhetoric of affections—in tempo, ornamentation, expressiveness, and seamless legato. As an encore, “Ombra mai fu” from Xerxes extended this refined, effortless vocal line, leaving the audience with the distinct impression that Gorina deserves to be heard much more often.
The final concert of the classical cycle at the Porta Ferrada Festival, which focused on Baroque music this year, left the audience spellbound. Local soprano Tina Gorina, accompanied by the Europa Galante Orchestra, showcased all the credentials she has accumulated, including being a regular performer at the Liceu with leading roles in Madama Butterfly and Turandot.
The Monastery of Sant Feliu de Guíxols was once again the chosen venue for the recital, which, while ideal in terms of acoustics, was less so for enduring the heavy coastal humidity. Italian violinist Fabio Biondi’s orchestra, which performed in all three recitals, got straight down to business with Vivaldi’s Sonata No. 12, known as La Follia. The energetic, vigorous start built anticipation for what was to follow: a swift recital combining mostly Vivaldi arias sung by Gorina with lively pieces by Mascitti and Pugnani performed by the orchestra alone.
The soprano opened with the aria «Sposa son disprezzata» from Giacomelli’s opera Merope, followed by the powerful and lesser-known «Amato ben» from Ercole su’l Termodonte, composed by Vivaldi inspired by Hercules’ ninth labor. Gorina sang with grace and expressiveness, shifting registers with agility and captivating the audience. The climax of the evening arrived with «Spesso fra vaghe rose», compiled by Vivaldi for the opera Bajazet. Gorina delivered every note with a clear voice and a sweet, pleasing timbre. The program’s final piece, the famous «Lascia ch’io pianga» from Händel’s opera Rinaldo, also received lengthy applause. As an encore, a final piece closed out an essential classical week at the Sant Feliu festival.
Soprano Tina Gorina, who will take on the role of Violetta Valery and will give a wonderful performance both vocally and interpretatively. Her voice reached every corner of the room perfectly thanks to its power and projection capacity. From the first scene she stood out above the rest in a very clear way, wearing an intense red dress that stood out against the black and white tones of the chorus, and until the end of the work she kept everyone’s attention due to the scenic force with which she filled the stage.