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’.
Classical Opera’s MOZART 250 project has reached the year 1767. Two years ago, the company embarked upon an epic, 27-year exploration of the music written by Mozart and his contemporaries exactly 250 years previously. The series will incorporate 250th anniversary performances of all Mozart’s important compositions and artistic director Ian Page tells us that as 1767 ‘was the year in which Mozart started to write more substantial works - opera, oratorio, concertos this will be the first year of MOZART 250 in which Mozart’s own music dominates the programme’.
‘[T]hey moderated or increased their voices, loud or soft, heavy or light according to the demands of the piece they were singing; now slowing, breaking of sometimes with a gentle sigh, now singing long passages legato or detached, now groups, now leaps, now with long trills, now with short, or again, with sweet running passages sung softly, to which one sometimes heard an echo answer unexpectedly. They accompanied the music and the sentiment with appropriate facial expressions, glances and gestures, with no awkward movements of the mouth or hands or body which might not express the feelings of the song. They made the words clear in such a way that one could hear even the last syllable of every word, which was never interrupted or suppressed by passages or other embellishments.’
An exceptional Wagner Der fliegende Holländer, so challenging that, at first, it seems shocking. But Kasper Holten's new production, currently at the Finnish National Opera, is also exceptionally intelligent.
A welcome addition to Lyric Opera of Chicago’s roster was its recent production of Jules Massenet’s Don Quichotte.
800 years ago, every book was a precious treasure - ‘written on skin’. In George Benjamin’s and Martin Crimp’s 2012 opera, Written on Skin, modern-day archivists search for one such artefact: a legendary 12th-century illustrated vanity project, commissioned by an unnamed Protector to record and celebrate his power.
It was like a “Date Night” at Staatsoper unter den Linden with its return of Eike Gramss’ 2012 production of Puccini’s Madama Butterfly. While I entered the Schiller Theater, the many young couples venturing to the opera together, and emerging afterwards all lovey-dovey and moved by Puccini’s melodramatic romance, encouraged me to think more positively about the future of opera.
For the Late Night concert after the Saturday series, fifteen Berliners backed up Barbara Hannigan in yet another adventurous collaboration on a modern rarity with Simon Rattle. I was completely unfamiliar with the French composer, but the performance tonight made me fall in love with Gérard Grisey’s sensually disintegrating soundscape Quatre chants pour franchir le seuil, or “Fours Songs to cross the Threshold”.
One of the things I love about the Philharmonie in Berlin, is the normalcy of musical excellence week after week. Very few venues can pull off with such illuminating star wattage. Michael Schade, Anne Schwanewilms, and Barbara Hannigan performed in two concerts with two larger-than-life conductors Thielemann and Rattle. We were taken on three thrilling adventures.
Lyric Opera of Chicago’s original and superbly cast production of Hector Berlioz’s Les Troyens has provided the musical public with a treasured opportunity to appreciate one of the great operatic achievements of the nineteenth century.
The Little Opera Company opened its 21st season by championing its own, as it presented the world premiere of Winnipeg composer Neil Weisensel’s Merry Christmas, Stephen Leacock.
In 2015, Bampton Classical Opera’s production of Salieri’s La grotta di Trofonio - a UK premiere - received well-deserved accolades: ‘a revelation ... the music is magnificent’ (Seen and Heard International), ‘giddily exciting, propelled by wit, charm and bags of joy’ (The Spectator), ‘lively, inventive ... a joy from start to finish’ (The Oxford Times), ‘They have done Salieri proud’ (The Arts Desk) and ‘an enthusiastic performance of riotously spirited music’ (Opera Britannia) were just some of the superlative compliments festooned by the critical press.
How many singers does it take to make an opera? There are single-role operas - Schönberg’s Erwartung (1924) and Eight Songs for a Mad King by Peter Maxwell Davies (1969) spring immediately to mind - and there are operas that just require a pair of performers, such as Rimsky-Korsakov’s Mozart i Salieri (1897) or The Telephone by Menotti (1947).
Now in its 31st year, the 2016 Christmas Festival at St John’s Smith Square has offered sixteen concerts performed by diverse ensembles, among them: the choirs of King’s College, London and Merton College, Oxford; Christchurch Cathedral Choir, Oxford; The Gesualdo Six; The Cardinall’s Musick; The Tallis Scholars; the choirs of Trinity College and Clare College, Cambridge; Tenebrae; Polyphony and the Orchestra of the Age of the Enlightment.
As 2016 draws to a close, we stand on the cusp of a post-Europe, pre-Trump world. Perhaps we will look back on current times with the nostalgic romanticism of Richard Strauss’s 1911 paean to past glories, comforts and certainties: Der Rosenkavalier.
Ah, Loft Opera. It’s part of the experience to wander down many dark streets, confused and lost, in a part of Brooklyn you’ve never been. It is that exclusive—you can’t even find the performance!
Let’s start by getting a couple of gripes out of the way. First, the final act of Die Walküre does not constitute a full-length concert, even with a distinguished cast and orchestra, and with animated drawings fluttering on a giant screen.
When you combine two charismatic New York stage divas with the artistry of Los Angeles Opera, you have a mix that explodes into singing, dancing and an evening of superb entertainment.
Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.
A historical afternoon at the NTR Saturday Matinee occurred with an epic concert version of Prokofiev’s Soviet Opera Semyon Kotko.
Opening night at the Metropolitan is a gleeful occasion even when the composer is long gone, but December 1st was an opening for a living composer who has been making waves around the world and is, gasp, a woman — the second woman composer ever to have an opera presented at the Met.
Bampton Classical Opera have two areas of specialism: little-known gems of the late eighteenth-century and ‘opera in adversity’.
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.