Mark Antony and Cleopatra (★★★★✩), gallant exoticism

Marc'Antonio e Cleopatra (★★★★✩) Performers: E. Baráth, soprano. A. Bonitatibus, mezzo. Vespres d'Arnadí. Dani Espasa, key and dir.mus. Place and date: Auditori Espai Ter (08/17/25). 45th ed. Torroella de Montgrí Festival

Preciousness of gallant style, that period halfway between Baroque and Classicism that elevated composers like Hasse, with two exceptional voices and an instrumental ensemble of exemplary elegance, made this Marc'Antonio e Cleopatra a sonic dream difficult to forget.

The German composer Adolf Hasse (1699-1783) has been historically overshadowed—despite his compositional greatness—between two totems, Handel and Mozart. A tenor in his early operatic days, he had the privilege of being one of the highest-paid musicians of his time, married to the great diva Faustina Bordoni. His biography is worthy of a film.

In this year's generous program, the Torroella Festival has showcased this Serenade for two voices with a string orchestra and basso continuo. A magnificent example of the perfection of its creator and of a style, galant, which requires accomplished artists to defend its beautiful musical idiosyncrasy.

This was the case with the Hungarian soprano Emöke Baráth, making her debut in Torroella as the hedonistic Cleopatra, and with the Italian mezzo Anna Bonitati-bus, as the elegant Marco Antonio, who returned to Torroella 31 years after winning the first edition of the Jaume Aragall Competition, which was then part of the Festival's programme.

The instrumental ensemble Vespres D'Arnadí once again demonstrated, in case anyone still doubted it, that it is a group of undeniable quality, on par with the best European specialist groups in early music, that is, among the world's top.

The flexibility of their violins, led by the charismatic Farran Sylvan James, and the always expressive contribution of Oriol Aymat on the cellos, two pillars of the group, are combined with Dani Espasa's vibrant and stylish musical direction on the harpsichord.

A lush orchestral accompaniment rocked this Serenade, a dialogue between the lovers Cleopatra and Mark Antony on the brink of death, both by suicide.

The Hungarian Baráth was a Queen of Egypt of radiant virtuosity. This role, which was debuted by the legendary Farinelli and which combines musical skill, expression, and style in eight arias and two duets, showcased the soprano's majesty. She produced a final aria, "Quel Cándido armellino ," that epitomized her finest qualities: brilliant high notes, incisive coloratura, and vocal brass of unusual brilliance.

Anna Bonitatibus blended in an organic and balanced way with her mellow timbre and characteristic vibrato, in a masterclass of phrasing, regulators and expressive accents.

A gallant celebration that did justice to a composer who deserves to be more widely programmed and recognized. Bravi!