Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Götterdämmerung in Palermo

There are not many opera productions that you would cross oceans to see. Graham Vick’s Götterdämmerung in Sicily however compelled such a voyage.

Emmanuel Chabrier L’Étoile — Royal Opera House London

Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.

Robert Ashley’s Quicksand at the Kitchen

Robert Ashley’s opera-novel Quicksand makes for a novel experience

Premiere of Raskatov’s Green Mass

One of the leading Russian composers of his generation, Alexander Raskatov’s reputation in the UK and western Europe derives from several, recent large-scale compositions, such as his reconstruction of Alfred Schnittke’s Ninth Symphony from a barely legible manuscript (the work was first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic under Dennis Russell Davies), and his 2010 opera A Dog’s Heart, based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney at English National Opera in 2010, following the opera’s premiere at Netherlands Opera earlier that year).

Orpheus in the Underworld, Opera Danube

I’m not sure that St John’s Smith Square was the most appropriate venue for Opera Danube’s latest production: Jacques Offenbach’s satirical frolic, Orpheus in the Underworld.

Lady Macbeth of Mtsensk in Lyon

This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .

Bel Canto: A World Premiere at Lyric Opera of Chicago

During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.

Tosca, Royal Opera

Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.

Lianna Haroutounian resplendent in Madama Butterfly at the Concertgebouw

The title role is a deciding factor in Madama Butterfly. Despite a last-minute conductor cancellation, last Saturday’s concert performance at the Concertgebouw was a resounding success, thanks to Lianna Haroutounian’s opulent, heart-stealing Cio-Cio-San.

Classical Opera: MOZART 250 — 1766: A Retrospective

With this performance of vocal and instrumental works composed by the 10-year-old Mozart and his contemporaries during 1766, Classical Opera entered the second year of their 27-year project, MOZART 250, which is designed to ‘contextualise the development and influences of [sic] the composer’s artistic personality’ and, more audaciously, to ‘follow the path that subsequently led to some of the greatest cornerstones of our civilisation’.

Benjamin Appl — Schubert, Wigmore Hall London

Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.

Ferrier Awards Winners’ Recital

The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.

Pelléas et Mélisande at the Barbican

When, o when, will someone put Peter Sellars and his compendium of clichés out of our misery?

Samuel Barber: Choral Music

This recording, made in the Adrian Boult Hall at the Birmingham Conservatoire of Music in June 2014, is the fourth disc in SOMM’s series of recordings with Paul Spicer and the Birmingham Conservatoire Chamber Choir.

L'Arpeggiata: La dama d’Aragó, Wigmore Hall

Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.

Tippett : A Child of Our Time, London

Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.

Taverner and Tavener, Fretwork, London

‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.

Fall of the House of Usher in San Francisco

It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.

The Merry Widow at Lyric Opera of Chicago

For its latest production of the current season Lyric Opera of Chicago is presenting Franz Lehár’s The Merry Widow (Die lustige Witwe) featuring Renée Fleming /Nicole Cabell as the widow Hanna Glawari and Thomas Hampson as Count Danilo Danilovich.

Kindred Spirits: Cecilia Bartoli and Rolando Villazón at the Concertgebouw

Mezzo-soprano Cecilia Bartoli has been a regular favourite at the Concertgebouw in Amsterdam since 1996. Her verastile concerts are always carefully constructed and delivered with irrepressible energy and artistic commitment.

OPERA TODAY ARCHIVES »

Reviews

F. J. Haydn by Thomas Hardy, 1792
20 Sep 2009

Haydn’s Le pescatrici at Bampton Classical Opera

Bampton Classical Opera have two areas of specialism: little-known gems of the late eighteenth-century and ‘opera in adversity’.

F. J. Haydn: Le pescatrici

Lesbina, a fishergirl, sister of Burlotto and in love with Frisellino: Emily Rowley Jones; Nerina, a fishergirl, sister of Frisellino and in love with Burlotto: Serena Kay; Burlotto, a fisherman, in love with Nerina: Andrew Friedhoff; Frisellino, a fisherman, in love with Lesbina: Mark Chaundy; Eurilda, believed to be the daughter of Mastricco: Lina Markeby/Margaret Rapacioli; Mastricco, an elderly fisherman: Robert Winslade Anderson; Lindoro, Prince of Sorrento: Vojtěch Šafařík. Orchestra of Bampton Classical Opera (July, August); The London Mozart Players (September). Conductor: Alice Farnham. Director: Jeremy Gray.

 

Whether it’s downpours and blackouts in the Oxfordshire countryside which force a retreat to a candlelit church, or indisposed singers who compel director Jeremy Gray himself to tread the boards (Benda’s Romeo and Juliet, 2007) or require a student drama student to read the text for a miming singer (Schubert’s The Conspirators, 2009), Bampton Classical Opera must sometimes feel that the Fates are against them. Critics have rightly noted that the company “deserves a prize for quirky, courageous planning” but one might also add that they excel in spontaneous and creative ‘damage limitation’! For this performance of Haydn’s seldom-performed dramma giocoso, Le Pescatrici, the late indisposition of the leading tenor, Andrew Friedhoff (Burlotto), necessitated some rapid re-imagining: in the event, Friedhoff was able to sing the recitative, his arias were excised, and Burlotto’s contributions to the ensembles were delivered by Philip Salmon from the front of the orchestral area. An unfussy solution, and one which scarcely disrupted the musical and dramatic rhythm and logic — indeed, if it had not been for the appearance of Salmon on the platform at the curtain, to receive his well-deserved applause, I suspect many in the audience would not have noticed anything unusual or amiss …

Haydn’s reputation may rest largely on his body of instrumental works, including the 104 symphonies and over 80 string quartets, but vocal music and vocal aesthetics were at the heart of his musical and personal identity throughout his career. His early vocal training was crucial to the formation of his style, as he became familiar with the vocally-based, sensual strands in German musical thought in the early 1750s, singing simple tunes to his father’s harp, training with the choir at St Stephen’s cathedral in Vienna, studying the ‘instrumental arias’ of C.P.E. Bach and the vocal compositions of the great Italian masters. It is therefore not surprising that everything Haydn wrote, even the most complex ideas, ‘sings’ so effortlessly and beautifully.

Despite, or perhaps because of, Haydn’s own concern that the relative isolation of the Esterháza palace would be detrimental to his compositional development, he was familiar with the most up-to-date trends and fashions in vocal music, well aware of the niceties of the Italian operatic tradition within which he worked. Moreover, in keeping with the contemporary aesthetic theory espoused by Rousseau and others, Le Pescatrici has relatively simple plot, with few incidents but many opportunities to explore the characters’ psychological depths and motivations. The context of the first performance — a celebration of the noble wedding of Prince Nicholas Esterházy’s niece, the Countess von Lamberg, and his Highness the Count of Poggi, staged in a new 400-seat opera house built by the extravagant Prince — led to small alternations being made to Goldoni’s play. Haydn’s opera, in which true nobility and aristocratic grace win through, and the fickle peasant classes are exposed as greedy and presumptuous, was a perfect parable for the occasion.

Two feckless fisher girls, Nerina and Lesbina, are each engaged to the other’s brother, Burlotto and Frisellino respectively. But, desirous of more wealthy and illustrious husbands, they are excited by the arrival of Prince Lindoro; he is seeking the rightful heir to the throne of Benevento, whose identity was concealed at birth during a violent coup. Each of the fortune-hunting girls immediately sets about convincing Lindoro that they are the true claimant, to the annoyance of their suitors. Mastricco, a worldly old fisherman, knows better, however; for it is the demure, gentle Eurilda, his supposed daughter, who is the rightful inheritor. Despite the enterprising efforts of the flighty fisher girls, true nobility shines through and justice is restored. But not before the spurned young men seize the opportunity to humiliate their capricious fiancées with a ‘Così-like’ trick: disguising themselves as the well-bred cousins of Lindoro, they woo their ladies (in this case, their own, to avoid any incestuous advances!) by promising them untold riches and luxury. When the ruse is exposed, it is Mastricco who must step in to restore order and harmony.

The imposing Baroque interior of St John’s Smith Square may lack some of the lavish opulence of the original venue, but this mattered not as the sets designed by Mike Wareham and Anthony Hall swept us far from twilight London to the idyllic Italian south, depositing us in the small fishing village of Taranto. An aquamarine gleam imbued all, illuminating a picture-perfect coastal backdrop; and what with the brightly painted fish-stalls and sun-bleached beach huts — with obligatory sea-gull perched aloft — one could almost forget the evening’s decidedly autumnal chill. This was a fresh, uncluttered set, but one which offered many an opportunity for Jeremy Gray’s typically deft visual witticisms — not least the changing theatre bills which reminded us of Le Pescatrici’s operatic ‘relations’, La Cenerentola and Così fan tutte.

A fire at the Esterháza opera house in 1779 resulted in the loss of almost one third of the score. Several significant scenes in Acts 1 and 2 are missing and when the opera was staged at Garsington in 1997, a prize of £2000 was offered for the “best restoration of missing parts”! Bampton adopted the more conventional approach of using the reconstruction made in 1965 by the esteemed Haydn scholar, H.C. Robbins Landon.

The replacement numbers for Act 1 and Act 2 are certainly in keeping with the lyrical, serenade-like idiom of Haydn’s original sections. However, the necessary excision of Burlotto’s mock-heroic first aria and the rather uniform mood, mode and timbre of the sequence of opening arias, resulted in a lack of variety at the start of Act 1; thus, while an atmosphere of delight and relaxation was created, characterisation was not firmly established in musical terms, although subsequent arias, particularly those for Lesbina and Nerina in Act 2, were more strikingly individual. What was apparent, from the opening bars of the overture, was that the London Mozart Players were on fine form, under the baton of Alice Farnham. In particular, the sweet, warm woodwind colours, à la divertimento, as in the tender introduction to the second scene, evoked the gentle, lazy heat of the Italian sunshine.

Throughout, the ensemble between the orchestra and singers was superb; two large television screens proved an effective means of overcoming one of the inherent problems of the venue, where the necessity of placing orchestral players behind the singers can hinder effective communication between conductor and cast. One might have wished for a little more energy and sprightlier tempi from Farnham in the ensembles, particularly in the Act 1 finale, with its gradual accumulation of musical and dramatic urgency, but overall the structure was well-judged. The continuo playing of Kelvin Lim was particularly noteworthy, skilfully creating dramatic momentum and continuity in the recitatives.

Supported by such an assured orchestral platform, it was the leading ladies who sparkled most brightly. Bampton regulars, Emily Rowley Jones (Lesbina) and Serena Kay (Nerina), pouted and pranced, flounced and flirted convincingly, both sopranos relishing the humour and sustaining the verve and energy. After some initial intonation problems, Rowley Jones settled into the role, negotiating both the pompous coloratura and deflating patter (thereby exposing the falsity of her claims and revealing her humdrum roots) in her Act 2 aria with confidence and assurance. Kay used her upper range particularly effectively.

In the role of Eurilda, Margaret Rapacioli certainly presented an effective contrast to the flightiness of the other fisher girls; the simplicity of Eurilda’s melodies reminds one of the classical grace and dignity of Gluck, but although she conveyed an appropriate dramatic serenity and sincerity, Rapacioli did not quite possess the sustained lyricism of line and depth of tone necessary to express the integrity and graciousness of Eurilde.

Mark Chaundy, as Frisellino, demonstrated a nimbleness of movement and lightness of voice, just right for this simple, undemanding young lover; while bass Robert Winslade Anderson was an appealing Mastricco. The expansive range required in his Act 1 aria posed some challenges, particularly at the top, but his consistently excellent diction more than compensated, to which he needed only a few economic visual and physical gestures to deftly convey both the wisdom and mischief of the wily old fisherman. Given the consistency of the soloists, it was a pity, therefore, that baritone Vojtech Safarik (Lindoro) seemed less assured. Under-powered vocally, rather stiff physically, and with little variety of tone, Safarik tended to shout when a forte was required; he was somewhat overshadowed in the ensembles, which had the unfortunate effect of diminishing the opera’s emphasis on the power and dignity of the ‘nobility’.

But, overall this was a well-matched cast. Caroline Kennedy and Rosa French, as decorative bellezze al bagno, enhanced the comic spirit. And, in the ensembles, particularly the Act 1 finale and the tranquil farewell to Lindoro and Eurilda, the voices blended into a radiant whole.

In his public statements about his oeuvre, Haydn consistently placed his vocal works ahead of his instrumental compositions. This performance, which conveyed the company ’s genuine belief in the opera’s merits and which perfectly straddled the line between irony and sincerity, certainly suggested that a reassessment of Haydn’s operatic achievement is long overdue.

Claire Seymour

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):