A German flautist and a Brazilian singer in a duo, accompanied by seven formidable instrumentalists from Ensemble 1700. In the Ambronay abbey church, the evening was highly anticipated, the sopranist (1) Bruno de Sá having caused a sensation last year , while Dorothee Oberlinger saw herself for the first time on the bill at the baroque music festival. Under the cameras of France Télévisions, voices and instruments unleashed sensuality and virtuosity, in an anthology of Italian pieces by Alessandro Scarlatti, Georg Friedrich Handel and Giovanni Battista Bononcini.
Getting to know the peaks
The singer’s very pure timbre blossoms gracefully in the high, even super-high, register of his range: no stridency, a wide range of nuances and an obvious joy in touching the peaks. Taking all the risks, Bruno de Sá sometimes negotiates a few tight turns but soon finds the foundation and ease that delight the public.
If he does not always have the same “hook” in the medium, the artist compensates for this weakness with a delightful theatrical fiber which he plays in the manner of a pop star: heavily made-up smoldering look, fitted suit, no dancing and other shoulder rolls. But when the music becomes plaintive, even tragic, the sopranist has the elegance to find a welcome sobriety, in the service of emotion.
All the birds of the forest
The diversity of recorders, from bass to soprano, used by Dorothee Oberlinger is impressive. So many chirps or vocalizations to respond to the voice of Bruno de Sá, to provoke it, to titillate it, to imitate it, to lead it into a jubilant joust. And now the stones of the abbey dissolve as if by magic, leaving the surrounding trees to invade the nave, the wind to caress the spectators… and the birds to offer them a fresh concert. Delectable!