In the 1849 poem Contralto, Théophile Gautier described the ability of a low female voice to transcend concepts of gender and attract men and women alike, irrespective of sexual orientation. He was writing about his mistress, the singer Ernesta Grisi, but his words apply equally well to Sonia Prina, whose concert with the period band laBarocca under its founder-conductor Ruben Jais caused quite a stir at the Wigmore Hall. A punk-rock androgyne in black singlet and trousers, Prina gave us a programme of virtuoso Gluck arias, mostly composed in the 1740s, before he adopted the stripped back, mature style that was to have so profound an influence on operatic history.
Prina can be idiosyncratic at times, but the excitement she generates is remarkable. Her voice is startling, with its dark, bronzed tone and formidable agility. Sperai Vicino Il Lido from Demofoonte found her flinging coloratura around like it was a weapon. Arias like Tradita, Sprezzata from La Semiramide Riconosciuta, where the vocal range is extreme, hold absolutely no terrors for her. The thrilling quality, however, sometimes comes at the price of finesse. When Gluck becomes introverted, the lines aren’t as shapely as they might be.
The only example of late Gluck, significantly perhaps, were the act three dances from Orfeo ed Euridice, given when Prina was away from the platform. Jais proved himself a Gluck conductor of considerable distinction, while laBarocca are a classy ensemble with a handsome sound.
