Samuel Mariño and the Australian Brandenburg Orchestra | The sopranista returns
22 Februrary, 2025, City Recital Hall, Sydney NSW
Venezuelan sopranista Samuel Mariño is back in Australia, and don’t we know it. The City Recital Hall was packed with excited concert-goers for their Saturday matinee, the Venezuelan diva’s penultimate performance before returning home. On the program were arias written for female heroines, from lithe coloratura showstoppers to heartbreaking laments, and with interludes from the Australian Brandenburg Orchestra.
The Orchestra, led by Shaun Lee-Chen, and directed by Paul Dyer, were on fire. Each time they played by themselves, there was a sense of freedom among the players to explore the bounds of some lesser-known baroque gems.
Mariño entered the concert with face positively glowing, in heels higher than I would ever dare, and with flashes of fabulous legs peeking out from beneath a black gown. He warmed into the concert in his first couple of arias, and each iteration of coloratura was accompanied by a dance party from Mariño, one the audience whole-heartedly embraced and even joined in with. Unfortunately there were many moments where the voice was inaudible above the orchestra, though the players worked hard to help Mariño in this regard.
One of my particular highlights from the afternoon was during ‘Ombre piante’ from Rodelinda, as Mariño sung a stunning unaccompanied pianissimo high phrase and held the audience to rapt attention. Throughout the afternoon he read the crowd well and held silences and joyful moments for just the right amount of time.
Special mention must go to Shaun Lee-Chen for some stunning ornamentation in the Adagio from Marcello’s ‘Sinfonia from Joaz’, as well as a gorgeous duet with Mariño in ‘Ombre piante’. Trumpeter Alexandra Bieri and oboist Adam Masters took to the front of the stage for a three-part cadenza alongside Mariño in ‘Destero dall’empia dita’, and had the audience in stitches as they milked it for all it was worth.
The lighting design from Ryan McDonald was beautiful, as the stage had an acoustically helpful backdrop of a sloped wall with battery-powered candles on top, and the lighting at several points enhanced the drama of the music.
This recital had everything you could want from a Baroque concert, and a little bit more. Fabulous outfit changes, small dance breaks and charm oozing from every pore of Samuel Mariño. This was not a ‘stuffy’ concert, and was full of adoring patrons of the arts alongside some concert-goers who most likely wouldn’t be seen regularly in a concert hall, all of whom were charmed by the fabulous sopranista. While it was not without balance and tuning issues, and the occasional driven high note, the audience still stood to their feet and received the afternoon with their grateful thanks.
Photo Credit: Laura Manariti
