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 Performances

The Rose and the Ring

Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.

The Lighthouse at San Francisco’s Opera Parallèle

What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.

King’s Consort at Wigmore Hall

I suspect that many of those at the Wigmore Hall for The King’s Consort’s performance of the La Senna festeggiante (The Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and further enticed by the notion of a lover’s serenade at which the generic term ‘serenata’ seems to hint.

Kathleen Ferrier Awards 2016

Having enjoyed superb singing by a young cast of soloists in Classical Opera’s UK premiere of Jommelli’s Il Vogoleso the previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final at the Wigmore Hall confirmed the strength and depth of talent possessed by the young singers studying in and emerging from our academies and conservatoires.

Pacific Opera Project Recreates Mozart and Salieri Contest

On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.

Powerful chemistry in La Cenerentola in Cologne

Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.

Tannhäuser: Royal Opera House, London

London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.

The Golden Cockerel in Düsseldorf

Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.

San Diego Opera Presents a Tragic Madama Butterfly

On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.

Simon Rattle conducts Tristan und Isolde

New Co-Production Tristan und Isolde with Metropolitan: Simon Rattle and Westbroek electrify Treliński’s Opera-Noir.

San Jose’s Smooth Streetcar Ride

In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.

Roméo et Juliette: Dutch National Opera and Ballet seal merger with leaden Berlioz

Choral symphony, oratorio, symphonic poem — Berlioz’s Roméo et Juliette does not fit into any mould. It has the potential to work as an opera-ballet, but incoherent storytelling and uninspired conducting undermined this production.

Donizetti : Lucia di Lammermoor, Royal Opera House

When Kasper Holten took the precaution of pre-warning ticket-holders that the Royal Opera House’s new production of Lucia di Lammermoor featured scene portraying ‘sexual acts’ and ‘violence’, one assumed that he was aiming to avert a re-run of the jeering and hectoring that accompanied last season’s Guillaume Tell. He even went so far as to offer concerned patrons a refund.

Five Reviews of Regina at Maryland Opera Studio

These are five very different reviews by students at the University of Maryland on its Opera Studio production of Regina — an interesting, informative and entertaining read . . .

Three Cheers for the English Touring Opera

‘Remember me, the one who is Pia;/ Siena made me, Maremma undid me.’ The speaker is Pia de’ Tolomei. She appears in a brief episode of Dante’s Divine Comedy (Purgatorio V, 130-136) which was the source for Gaetano Donizetti’s Pia de’ Tolomei - by way of Bartolomeo Sestini’s verse-novella of 1825.

Andriessen's De Materie at the Park Avenue Armory

"The large measure of formalism which forms the basis of De Materie does not in itself offer any guarantee that the work will be beautiful," says Dutch composer Louis Andriessen of his four-movement opera.

Falstaff Makes a Big Splash in Phoenix

On April 1, 2016, Arizona Opera presented Falstaff by Giuseppe Verdi (1813-1901) and Arrigo Boito (1842-1918) in Phoenix. Although Boito based most of his libretto on Shakespeare’s The Merry Wives of Windsor, he used material from Henry IV as well. Verdi wrote the music when he was close to the age of eighty. He was concerned about his ability at that advanced age, but he was immensely pleased with Boito’s text and decided to compose his second comedy, despite the fact that his first, Un giorno di regno, had not been successful.

Svadba in San Francisco

The brand new SF Opera Lab opened last month with artist William Kentridge’s staged Schubert Winterreise. Its second production just now, Svadba-Wedding — an a cappella opera for six female voices — unabashedly exposes the space in a different, non-theatrical configuration.

Benvenuto Cellini in Rome

One may think of Tosca as the most Roman of all operas, after all it has been performed at the Teatro Costanzi (Rome’s opera house) well over a thousand times since 1900. Though equally, maybe even more Roman is Hector Berlioz’ Benvenuto Cellini that has had only a dozen or so performances in Rome since 1838.

Handel : Elpidia - Opera Settecento

Roll up! A new opera by Handel is to be performed, L’Elpidia overo li rivali generosi. It is based upon a libretto by Apostolo Zeno with music by Leonardo Vinci - excepting a couple of arias by Giuseppe Orlandini and, additionally, two from Antonio Lotti’s Teofane (which the star bass, Giuseppe Maria Boschi , on bringing with him from the Dresden production of 1719).

OPERA TODAY ARCHIVES »

Performances

Thomas Augustine Arne by Johann Zoffany [Source: Wikipedia]
20 Feb 2011

Thomas Arne, Bampton Classical Opera

The first performance of Thomas Arne’s masque Alfred took place at Clivedon House on the Thames near Maidenhead, in August 1740.

Thomas Arne: Alfred (excerpts); The Judgement of Paris

Alfred — Alfred: John-Colyn Gyeantey; Eltruda, his queen: Joana Seara; Edward, his son: Serena Kay; Corin, a peasant: Mark Chaundy; Emma, his wife: Ilona Domnich; The Spirit: Ilona Domnich.

The Judgement of Paris — Mercury: Mark Chaundy; Paris, a shepherd: John-Colyn Gyeanty; Juno: Joana Seara; Pallas: Serena Kay; Venus: Ilona Domnich.

Bampton Classical Opera. The Bampton Classical Players. Conductor: Benjamin Bayl. Wigmore Hall, London, Saturday 12th February 2011.

Above: Thomas Augustine Arne by Johann Zoffany [Source: Wikipedia]

 

Frederick, Prince of Wales, eldest son of George II, had married in 1736 but, rebellious and alienated from his parents, when his wife became pregnant, Frederick concealed the fact. At the last moment, the Princess of Wales was rushed to St James’s Palace, where no preparations had been made, and gave birth to a daughter, almost as soon as the King and Queen knew a grandchild was on the way. The little girl was known as Augusta, Princess of Brunswick, and for her third birthday, or rather one day later on 1 August 1740, her father arranged a grand entertainment in the garden of Cliveden consisting of two masques and some pantomime scenes, all performed by the best London professionals that money could buy. The entertainments were enjoyed by such a throng of society guests that they had to be repeated on the following night — when a rainstorm drove everyone indoors, and Alfred had to be finished in the Hall.

In the eighteenth century, the characters and storyline of a masque would be familiar to all with a knowledge of classical mythology. The early-eighteenth century was a ‘classical age’, in which assumptions were seldom challenged, and people believed that their way of life and artistic tastes were not a passing phase but, in the words of the great English historian, G.M. Trevelyan, “permanent habitations, the final outcome of reason and experience. Such an age does not aspire to progress though it may in fact be progressing, it regards itself not as setting out but as having arrived …And therefore the men of this ‘classical’ age looked backed with a sense of kinship to the far-off ancient world. The upper class regarded the Greeks and Romans as honorary Englishmen, their precursors in liberty and culture.”*

Thus, Alfred, ostensibly set in the distant ninth century and telling the story of maurading, godless Danes who met their match in Alfred, a scholarly and benevolent ruler, had significant contemporary relevance, obvious no doubt to all of Frederick’s guests. For, just as the legendary King Alfred sought refuge in a country refuge, from whence he launched the freeing of his nation, so Frederick resided in his rural retreat, estranged from his father, waiting for the day when his values of liberty and honour would prevail and ‘free’ his nation.

At the time of Alfred’s composition, inventions in the masque form were acceptable if they were fairly mild in character; sometimes they may have been barely intentional, and thus Arne, though he transformed English opera in the 1740s-60s, may scarcely have been conscious of his originality, being more concerned to ‘recapture the past’ than to forge new paths into the future.

In fact, Thomas Augustine Arne (1710-1778) was the most important figure in the world of English theatre music in the middle part of the eighteenth century, fighting vehemently for the cause of native creativity at a time when the fashion for foreign culture prevailed. With a brilliant gift for melody, Arne was able to turn his hand to the whole range of theatre music, from incidental music and comic 'afterpieces', to complex masques and opera seria on the scale of those by his great rival, Handel.

Alfred has the innovation of both spoken dialogue and a historical plot. At this time, James Thomas, the author of The Seasons, was receiving an allowance from Frederick — much needed for only shortly before he had been languishing in a debtors’ prison! Anxious to raise the literary level of the masque, Arne found in Thomas a poet of merit. Arne may well have been looking back to the Purcellian masque with his deployment of spoken dialogue but at the same time, it may also have conveniently excused him from the obligation to write ‘dramatic music’, in recognition that his compositional gifts were primarily lyrical. In this performance by Bampton Classical Opera, the text was narrated crisply by Bampton director Jeremy Gray; the transitions between spoken and sung text were swift and wholly convincing, effectively binding the individual numbers into a fluent narrative.

Originally Alfred and his wife, Eltruda, were non-singing parts; the airs were sung by the two shepherds, Corin and his wife Emma, and by the Spirit, sung originally by Mrs Arne — aka Cecilia Young, one of the foremost sopranos of the age. Presented in a bewildering number of versions in its day, textually Alfred is one of the most confused of all eighteenth-century ‘operas’. Arne continued to revise and reshape it, composing up to seventy numbers in all. Many of the revisions were pragmatic: initially scored with great lavishness, it was subsequently impossible to accommodate the work in any of the London playhouses, and therefore economising modification was necessary. None of the music was published for more than a decade after the first performance, and then only in much altered form. Bampton Classical Opera first tackled the work in 1998, giving what may have been the first fully-staged performance since the eighteenth century. On this occasion, they presented excerpts from the 1753 version, in which the dialogue was reduced to a minimum.

Alfred is a stirring tale of Anglo-Saxon warfare and rustic love, complete with ‘an offstage British victory of overwhelming proportions’. The music may be unfamiliar, but it was pleasing to see several Bampton ‘regulars’ return for this performance. The dramatic focus and musical accuracy of Corin’s opening solo air, ‘Though to a desert Isle confin’d’, sung with confident assurance by Mark Chaundy, flowed naturally to the Trio ‘Let not those who love, complain’, in which the voices of Joana Seara, Serena Kay and John-Colyn Gyeanty blended perfectly with the instrumental support. Having recently performed the Count in Bampton’s 2010 The Marriage of Figaro by Marcos Portugal, Gyeanty employed his flexibile, warm tenor with admirable control in the eponymous hero’s beautiful air, ‘From the Dawn of early Morning’, displaying an array of colours and dispatching the rapid scalic runs with aplomb. Making effective use of pianissimo, he shaped the phrases gracefully and projected the words clearly. As Edward (performed in 1753 by the renowned castrato, Guadagni), Kay brought dramatic energy to her air, ‘Vengeance, O come, inspire me!’, while Seara delivered Eltruda’s ‘Gracious Heav’n, O hear me!’ with precision and finesse. Ilona Domnich was a bright, clear shepherdess, Emma, and also sang the Spirit’s air with directness and assurance, adeptly capturing the mood of the situation.

‘Rule Britannia’ — a ‘Grand Ode in Honour of Great Britain’ — ends the work. Dynamic instrumental playing from the Bampton Classical Players accompanied King Alfred’s and Queen Eltruda’s prayer that our shores be protected from foreign invasion, a prayer which, for all its modern ‘vainglory’, expresses not unreasonable sentiments for a constantly invaded island in the ninth century, and had topical relevance for 1740. Brilliantly scored for oboes, bassoons, trumpets, drums and strings, it was an overnight sensation on its first performance, and was soon sung everywhere; in 1742 the full score was published as an appendix to Arne’s The Judgement of Paris, a work which was undoubtedly influenced by Sammartini’s Judgement of Paris also given at Cliveden in the summer of 1740.

At the time it was felt that ‘masque’ was not the appropriate category for Alfred, and it was later advertised as a serenata, an opera, and even an oratorio. Similarly, while Arne’s The Judgement of Paris — an irreverent account of the famous mythological beauty contest which led to the Trojan War — was also described as a masque when first performed at Drury Lane on 12 March 1742, there is no spoken dialogue and it is effectively a one-act opera for five soloists and chorus.

Bampton Classical Opera certainly made a strong case for its dramatic as well as musical merits. Conductor Benjamin Bayl deftly captured the character of the piece, inspiring vigorous playing from the period instrumental orchestra and drawing out the distinctive woodwind colourings in particular numbers. Tempi were well chosen and the recitatives sustained forward momentum.

Gyeanty’s even legato and sensitivity to the text were again in evidence in Paris’s air, ‘I faint, I fall’, as he used changes of pace and rich ornamentation to convey drama and emotion. Mark Chaundy’s light voice and superb breath control aptly conveyed the swift airiness of Mercury in ‘Fear not, mortal, none shall harm thee’; and the two men enjoyed the joyful jauntiness of their duet, ‘Happy thou of human race’.

Arne’s music for the three goddesses is nicely differentiated. Serena Kay presented a powerful, athletic impression of Pallas in ‘O what joys does conquest yield’, an elaborate, full-scale Italianate da capo aria, which also drew fine playing from the oboes, trumpets and drums. In contrast, Joana Seara emphasised the steadfastness of Juno in a simple strophic air, ‘Let ambition fire the mind’. In Venus’s ‘Nature framed thee sure for Loving’, Ilona Domnich floated the high notes sweetly, while the two violins enjoyed their dialogue and echo effects. Venus’s first air, ‘Hither turn thee gentle swain’, includes a delightful cello obbligato, here beautifully played by Natasha Kraemer. It leads to an amusing ‘rivalry trio’ for the three goddesses; Kay, Seara and Domnich clearly relished the gentle humour as Pallas and Juno take turns to ironically adapt the first line of Venus’s preceding air.

This may have been a concert performance, but the singers were uniformly effective in conveying not just character but dramatic relationships and momentum. Indeed, the stage directions, reproduced in the programme, describe the moment when Paris sees the three goddesses, who then descend briskly from the sky on mechanical contraptions — a useful reminder of the theatrical origins of the work.

Once again, Bampton Classical Opera not only brought justly deserving but little known repertoire to a highly appreciative audience’s attention, but performed it with commitment, intelligence and significant musical accomplishment. In so doing, the company made a strong and convincing case for both the musical and the dramatic potential of these early English ‘operas’.

Claire Seymour


* G.M. Trevelyan, Illustrated English Social History: 3 (The Eighteenth Century), Pelican, pp.85-6.

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):