Baroque Opera: Adriano in Siria by Graun – Analysis & History

summary of the Review of Adriano in Syria by Carl Heinrich Graun

This review discusses a recent recording of Carl Heinrich Graun’s opera Adriano in Syria, performed at the Palais de Sanssouci in Potsdam in June 2024. Here’s a breakdown of the key points:

* Graun’s Style: Graun’s work is positioned as a bridge between the german contrapuntal tradition (Keiser, Hasse) and the emerging, more Mozartian style influenced by Neapolitan opera. He skillfully blends these influences in his orchestration, melody, and dynamics.
* The Opera Itself: Adriano in Syria is a three-act opera dealing with the clash between reason and passion,ultimately resolving in a restoration of political order and rational love. The libretto is praised for its dramatic logic and poetic intensity.
* The Recording: While acknowledging some imperfections due to being a live recording (rather than studio-produced), the review deems the performance “excellent” thanks to a strong cast.
* Key Performers:

* Valer Sabadus (Adriano): Highly convincing, portraying Adriano’s wisdom and control.
* Keri Fuge (Sabina): Makes a “very beautiful impression” with a flexible and expressive voice.
* Roberta Mameli (Erisma): dazzles with elegant phrasing and tragic depth.
* Bruno de Sá (Farnaspe): Technically proficient but his vocal quality (“stamp”) is described as lacking some appeal, with a hint of rawness.
* David Tricou (Osroa): Energetic vocalization, but doesn’t fully captivate.
* Overall Impression: The recording is considered a significant event, highlighting Graun’s importance as a transitional figure in Baroque opera and showcasing strong vocal performances.

In essence, the review is positive, praising both the composer and the performers, while acknowledging the limitations of a live recording.It positions Adriano in Syria as a valuable rediscovery for lovers of Baroque opera.