Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Médée in Salzburg

Though Luigi Cherubini long outlived the carnage of the French Revolution his 1797 opéra comique [with spoken dialogue] Médée fell well within the “horror opera” genre that responded to the spirit of its time. These days however Médée is but an esoteric and extremely challenging late addition to the international repertory.

Queen: A Royal Jewel at Glimmerglass

Tchaikovsky’s grand opera The Queen of Spades might seem an unlikely fit for the multi-purpose room of the Pavilion on the Glimmerglass campus but that qualm would fail to reckon with the superior creative gifts of the production team at this prestigious festival.

Blue Diversifies Glimmerglass Fare

Glimmerglass Festival has commendably taken on a potent social theme in producing the World Premiere of composer Jeanine Tesori and librettist Tazewell Thompson’s Blue.

Vibrant Versailles Dazzles In Upstate New York

From the shimmering first sounds and alluring opening visual effects of Glimmerglass Festival’s The Ghosts of Versailles, it was apparent that we were in for an evening of aural and theatrical splendors worthy of its namesake palace.

Gilda: “G for glorious”

For months we were threatened with a “feminist take” on Verdi’s boiling 1851 melodrama; the program essay was a classic mashup of contemporary psychobabble perfectly captured in its all-caps headline: DESTRUCTIVE PARENTS, TOXIC MASCULINITY, AND BAD DECISIONS.

Simon Boccanegra in Salzburg

It’s an inescapable reference. Among the myriad "Viva Genova!" tweets the Genovese populace shared celebrating its new doge, the pirate Simon Boccanegra, one stood out — “Make Genoa Great Again!” A hell of a mess ensued for years and years and the drinking water was poisonous as well.

Rigoletto at Macerata Opera Festival

In this era of operatic globalization, I don’t recall ever attending a summer opera festival where no one around me uttered a single word of spoken English all night. Yet I recently had this experience at the Macerata Opera Festival. This festival is not only a pure Italian experience, in the best sense, but one of the undiscovered gems of the European summer season.

BBC Prom 37: A transcendent L’enfance du Christ at the Albert Hall

Notwithstanding the cancellation of Dame Sarah Connolly and Sir Mark Elder, due to ill health, and an inconsiderate audience in moments of heightened emotion, this performance was an unequivocal joy, wonderfully paced and marked by first class accounts from four soloists and orchestral playing from the Hallé that was the last word in refinement.

Tannhäuser at Bayreuth

Stage director Tobias Kratzer sorely tempts destruction in his Bayreuth deconstruction of Wagner’s delicate Tannhäuser, though he was soundly thwarted at the third performance by conductor Christian Thielemann pinch hitting for Valery Gergiev.

Opera in the Quarry: Die Zauberflöte at St Margarethen near Eisenstadt, Austria

Oper im Steinbruch (Opera in the Quarry) presents opera in the 2000 quarry at St Margarethen near Eisenstadt in Austria. Opera has been performed there since the late 1990s, but there was no opera last year and this year is the first under the new artistic director Daniel Serafin, himself a former singer but with a degree in business administration and something of a minor Austrian celebrity as he has been on the country's equivalent of Strictly Come Dancing twice.

BBC Prom 39: Sea Pictures from the BBC National Orchestra of Wales

Sea Pictures: both the name of Elgar’s five-song cycle for contralto and orchestra, performed at this BBC Prom by Catriona Morison, winner of the Cardiff Singer of the World Main Prize in 2017, and a fitting title for this whole concert by the BBC National Orchestra of Wales conducted by Elim Chan, which juxtaposed a first half of songs of the sea, fair and fraught, with, post-interval, compositions inspired by paintings.

BBC Prom 32: DiDonato spellbinds in Berlioz and the NYO of the USA magnificently scales Strauss

As much as the Proms strives to stand above the events of its time, that doesn’t mean the musicians, conductors or composers who perform there should necessarily do so.

Get Into Opera with this charming, rural L'elisir

Site-specific operas are commonplace these days, but at The Octagon Barn in Norwich, Genevieve Raghu, founder and Artistic Director of Into Opera, contrived to make a site persuasively opera-specific.

A disappointing Prom from Nathalie Stutzmann and BBCNOW

Nathalie Stutzmann really is an impressive conductor. The sheer elegance she brings to her formidable technique, the effortless drive towards making much of the music she conducts sound so passionate and the ability to shock us into hearing something quite new in music we think we know is really rather refreshing. Why then did this Prom sometimes feel weary, even disappointing at times?

Merola’s Striking If I Were You

Jake Heggie and Gene Scheer have become an indispensable presence in the contemporary opera world, and their latest premiere, If I Were You, found the duo at the very top of their game.

The Thirteenth Child: When She Was Good…

Santa Fe Opera continues its remarkable record for producing World (and American) Premieres with The Thirteenth Child, music by Poul Ruders, libretto by Becky and David Starobin.

The Sopranos at Tanglewood

Among classical music lovers, Wagner inspires equal measures of devotion and disdain. Some travel far and sit for hours to hear his operas live. Others eschew them completely.

Agrippina at the Bavarian State Opera

And still they come. The opera world’s obsession with Handel’s operas shows no sign of abating. The Bavarian State Opera has, since Peter Jonas’s Intendancy, stood at the forefront of Handel staging; this new production of Agrippina was dedicated to him. As ever, I was pleased to see one of these operas for the first time in the theatre – how could I not be pleased to see almost anything in Munich’s wonderful Prinzregententheater – but again, as ever, I was left unable ever quite to put to one side the dramaturgical difficulties/problems/flaws/inadequacies. (Call them what you will.)

Prom 18: Das Lied von der Erde

Benjamin Britten’s early, brilliant Piano Concerto and Gustav Mahler’s late symphonic song-cycle Das Lied von der Erde might seem strange concert partners, but there are links between the two works. Both have an uncertainty of form, Britten’s concerto is almost a suite, whilst Mahler’s song-cycle is effectively a symphony. Also, both works were introduced into the UK by Sir Henry Wood. It is this latter connection which drew Britten’s Piano Concerto and Mahler’s Das Lied von der Erde into Thursday night’s Prom as part of this year’s celebration the 150th anniversary of Sir Henry Wood’s birth.

Grimeborn 2019: Das Rheingold

Graham Vick and Jonathan Dove's adaptation of Wagner's Ring was created in the early 1990s for Vick's City of Birmingham Touring Opera, reducing the four evenings and 15 hours music of the cycle down to just two evenings. Dove's orchestration skilfully reduced Wagner's demands down to just 18 instrumentalists, thus allowing a touring version of the Ring (done by Vick in an imaginative production which remarkably followed most of Wagner's stage directions) sung by younger voices.

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):