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

Philip Venables' Denis & Katya: teenage suicide and audience complicity

As an opera composer, Philip Venables writes works quite unlike those of many of his contemporaries. They may not even be operas at all, at least in the conventional sense - and Denis & Katya, the most recent of his two operas, moves even further away from this standard. But what Denis & Katya and his earlier work, 4.48 Psychosis, have in common is that they are both small, compact forces which spiral into extraordinarily powerful and explosive events.

A new, blank-canvas Figaro at English National Opera

Making his main stage debut at ENO with this new production of The Marriage of Figaro, theatre director Joe Hill-Gibbins professes to have found it difficult to ‘develop a conceptual framework for the production to inhabit’.

Massenet’s Chérubin charms at Royal Academy Opera

“Non so più cosa son, cosa faccio … Now I’m fire, now I’m ice, any woman makes me change colour, any woman makes me quiver.”

Bluebeard’s Castle, Munich

Last year the world’s opera companies presented only nine staged runs of Béla Bartòk’s Bluebeard’s Castle.

The Queen of Spades at Lyric Opera of Chicago

If obsession is key to understanding the dramatic and musical fabric of Tchaikovsky’s opera The Queen of Spades, the current production at Lyric Opera of Chicago succeeds admirably in portraying such aspects of the human psyche.

WNO revival of Carmen in Cardiff

Unveiled by Welsh National Opera last autumn, this Carmen is now in its first revival. Original director Jo Davies has abandoned picture postcard Spain and sun-drenched vistas for images of grey, urban squalor somewhere in modern-day Latin America.

Lise Davidsen 'rescues' Tobias Kratzer's Fidelio at the Royal Opera House

Making Fidelio - Beethoven’s paean to liberty, constancy and fidelity - an emblem of the republican spirit of the French Revolution is unproblematic, despite the opera's censor-driven ‘Spanish’ setting.

A sunny, insouciant Così from English Touring Opera

Beach balls and parasols. Strolls along the strand. Cocktails on the terrace. Laura Attridge’s new production of Così fan tutte which opened English Touring Opera’s 2020 spring tour at the Hackney Empire, is a sunny, insouciant and often downright silly affair.

A wonderful role debut for Natalya Romaniw in ENO's revival of Minghella's Madama Butterfly

The visual beauty of Anthony Minghella’s 2005 production of Madama Butterfly, now returning to the Coliseum stage for its seventh revival, still takes one’s breath away.

Charlie Parker’s Yardbird at Seattle

It appears that Charlie Parker’s Yardbird has reached the end of its road in Seattle. Since it opened in 2015 at Opera Philadelphia it has played Arizona, Atlanta, Chicago, New York, and the English National Opera.

La Périchole in Marseille

The most notable of all Péricholes of Offenbach’s sentimental operetta is surely the legendary Hortense Schneider who created the role back in 1868 at Paris’ Théâtre des Varietés. Alas there is no digital record.

Three Centuries Collide: Widmann, Ravel and Beethoven

It’s very rare that you go to a concert and your expectation of it is completely turned on its head. This was one of those. Three works, each composed exactly a century apart, beginning and ending with performances of such clarity and brilliance.

Seventeenth-century rhetoric from The Sixteen at Wigmore Hall

‘Yes, in my opinion no rhetoric more persuadeth or hath greater power over the mind; hath not Musicke her figures, the same which Rhetorique? What is a but her Antistrophe? her reports, but sweet Anaphora's? her counterchange of points, Antimetabole's? her passionate Aires but Prosopopoea's? with infinite other of the same nature.’

Hrůša’s Mahler: A Resurrection from the Golden Age

Jakub Hrůša has an unusual gift for a conductor and that is to make the mightiest symphony sound uncommonly intimate. There were many moments during this performance of Mahler’s Resurrection Symphony where he grappled with its monumental scale while reducing sections of it to chamber music; times when the power of his vision might crack the heavens apart and times when a velvet glove imposed the solitude of prayer.

Full-Throated Troubador Serenades San José

Verdi’s sublimely memorable melodies inform and redeem his setting of the dramatically muddled Il Trovatore, the most challenging piece to stage of his middle-period successes.

Opera North deliver a chilling Turn of the Screw

Storm Dennis posed no disruption to this revival of Britten’s The Turn of the Screw, first unveiled at Leeds Grand Theatre in 2010, but there was plenty of emotional turbulence.

Luisa Miller at English National Opera

Verdi's Luisa Miller occupies an important position in the composer's operatic output. Written for Naples in 1849, the work's genesis was complex owing to problems with the theatre and the Neapolitan censors.

Eugène Onéguine in Marseille

A splendid 1997 provincial production of Tchaikovsky’s take on Pushkin’s Bryonic hero found its way onto a major Provençal stage just now. The historic Opéra Municipal de Marseille possesses a remarkable acoustic that allowed the Pushkin verses to flow magically through Tchaikovsky’s ebullient score.

Opera Undone: Tosca and La bohème

If opera can sometimes seem unyieldingly conservative, even reactionary, it made quite the change to spend an evening hearing and seeing something which was so radically done.

A refined Acis and Galatea at Cadogan Hall

The first performance of Handel's two-act Acis and Galatea - variously described as a masque, serenata, pastoral or ‘little opera’ - took place in the summer of 1718 at Cannons, the elegant residence of James Brydges, Earl of Carnavon and later Duke of Chandos.

OPERA TODAY ARCHIVES »

Performances

The Son of Man by René Magritte (1964)
22 Sep 2013

La finta semplice, Bampton Classical Opera

Mozart cut his operatic teeth on La finta semplice, as a twelve-year-old prodigy being paraded before the Viennese court by his ambitious father, Leopold.

La finta semplice, Bampton Classical Opera

A review by Claire Seymour

Above: The Son of Man by René Magritte (1964)

 

Responding enthusiastically to a casual remark by Emperor Joseph II that the young wunderkind might like to compose an opera for the court, the proud parent precipitately exclaimed, “Today we are to see a Gluck and tomorrow a boy of twelve seated at the harpsichord conducting his own opera”.

Unfortunately his impetuous pronouncement was a little premature, for Leopold had not reckoned with the jealousy of the musical retinue at court, who were not keen to be upstaged by an unwelcome upstart, and with the machinations of the Emperor’s dubious theatre manager, Giuseppe d’Afflisio, who - already in financial difficulties - was unwilling to take a gamble on the first operatic efforts of an untried teenager. The unworthiness of a twelve-year-old to occupy the hallowed maestro’s chair was urged, the merit of the music disputed, and its veracity challenged, some alleging that it had in fact been composed by Leopold.

Mozart did compose the opera, but had to wait until 1769 for the first performance, in Salzburg. However, in some ways Leopold Mozart’s suggestion that a new operatic age, led by his precocious offspring, was about to dawn was spot on. While a remarkable achievement for an adolescent, La finta semplice is understandably lacking in the richness and variety of human feeling of Mozart’s later works, but nevertheless the instinctive sense of the dramatic and innate feeling for musical characterisation is already evident, and there are a few gleams of the move from aria-based form to truly interactive ensembles which was soon to follow. Moreover, there are incipient signs of the combination of the comic and the tragic which define the Mozartian genius.

Comparisons with the mature opera buffa are unfair but inevitable, especially as the plot revolves around that old staple of obstructions to young love being overcome by wiles and wisdom; and one may indeed discern a touch of Despina in Ninetta, or a foretaste of Figaro’s Countess in Rosina.

In fact, the actions of Coltellini’s libretto, adapted from a play by Goldoni’s 1764, and the familiar character ‘types’, drawn from everyday life, are closer to commedia dell’arte than the clever complexities of Lorenzo Da Ponte’s comic masterpieces. A Hungarian officer, Fracasso, and his sergeant, Simone, are billeted with two rich, unmarried brothers, the irritable and petulant Don Cassandro and the more timid, empty-headed Don Polidoro. The brothers have a sister, Giacinta, whom Fracasso is wooing, while Simone addresses his amorous advances towards Giacinta’s maid, Ninetta. Fracasso and Simone determine to enlist the assistance of Fracasso’s sister, Rosina; with ‘finta semplice’ - literally, pretended foolishness - she will flirt and divert the attention of both brothers. This she does with thespian adroitness and the predictable complications follow. Ultimately, the brothers are told that Giacinta and Ninetta have absconded with the family jewels and the princes are persuaded by Rosina to offer the light-fingered lasses’ hands in marriage to the men who can find them and return the treasures. Inevitably, this feat is duly accomplished by Fracasso and Simone, and the nuptials are agreed. Rosina - having led Polidoro to believe he is the favoured one - at the last surprisingly switches her devotion to the misogynist Cassandro, exposing her ‘innocent’ deception and declaring that she surely deserves forgiveness for being cleverer than she appeared. Polidoro accepts his rejection, consoled by the fact that his brother has been proven to be equally foolish, and multiple marriages ensue.

‘Pride and Pretence’, the title of Jeremy Gray and Gilly French’s frivolous but efficacious translation, aptly encapsulates the work. Sharp rhymes keep the farce whipping along and add a touch of slickness to the boisterous larks on stage.

So often the plots of commedia and of opera buffa defy unequivocal explanation - have you ever tried to summarise the libretto of Figaro for an opera novice? Thus, Jeremy Gray’s surreal sets, comprising copious visual references to René Magritte - who so disliked explanations which diluted the enigma of his images - made a fittingly ambiguous and paradoxical backdrop to this tale of mistaken identity and crossed purposes.

Magritte’s Les amants, In which the identity of the figures is mysteriously veiled in white muslin, as two blanketed heads attempt to kiss each other through their cloth encasements, may hint at darker themes - isolation, suffocation and alienation - but here served to highlight the frustrated desire experienced by all the personnel, and perhaps too the inability to fully know the true nature of even our most intimate acquaintances. Sculptured torsos, derived from ‘La Lumière des coïncidences’ were similarly enshrouded throwing illumination on the illogicality of life - as Magritte himself said, “Everything we see hides another thing, we always want to see what is hidden by what we see. There is an interest in that which is hidden and which the visible does not show us.” The floating clouds of the painter’s ‘The Empire of Light’, hovering bowler hats and green apples plucked from ‘The Son of Man’, and the impenetrable perplexities of ‘Ceci n'est pas une pipe’ (This is not a pipe) formed a kind of surreal graffiti which established an aptly chaotic ambience of confusion and contradiction, blurring reality and illusion.

The cast were uniformly excellent - totally committed to the music and alert to the comic potential of the drama. Several of the singers are long-time Bampton associates and this helped to create a sense of comfortable companionship and confidence.

As the irascible Don Cassandro, baritone Nicholas Merryweather was drily peevish in his Act 1 aria but he did not settle into caricature, and showed dramatic and musical intelligence in developing the complexity of the role as the action progressed. Mozart’s music may be stylistically somewhat unvarying but there are some signs of the remarkable musical delineation which would be the hallmark of his later operas. Thus, Polidoro’s arias are often of slower tempo and while Robert Anthony Gardiner took advantage of every opportunity to convey the younger prince’s inanity he also added an occasional note of pathos to his warm tenor, especially during the aria in which he confesses his subjugation to Rosina and at the moment of his ultimate disillusionment.

Simone is a role of minor importance, but bass Gavan Ring made a big impression, his voice full of character and his diction clear; his breathless entrance during the Act 1 Finale was especially effective, as he rushed in with an announcement that a handsome stranger is requesting permission to wait upon Rosina and take her out to dinner, throwing all into confusion and paving the way for the troubles and trickeries ahead. Adam Tunnicliffe was a boisterous Fracasso, expertly colouring the recitative, every word audible, and singing with ringing tone. Only in his final aria did he seem to tire a little, the rhythmic tightness occasionally lessening.

Aoife O’Sullivan demonstrated stamina and flexibility in the demanding role of Rosina, despatching the glittering coloratura of her lengthy Act 3 aria with accomplishment and ease. She used her supple, sweet-toned soprano to communicate character and text with clarity, and revealed herself to be no mean actress too, drolly playing the simpleton to Polidoro, masterfully manipulating Cassandro and clever controlling the amorous destinies of her brother, her sister-in-law-to-be’s maid and herself. As Ninetta, Nathalie Chalkley’s bright soprano and comic astuteness suggest she would make a good Susanna; Caryl Hughes was highly effective in the small role of Giacinta.

Conductor Andrew Griffiths demonstrated a keen sense of style and dramatic momentum, drawing superb, stylish playing from the eighteen musicians of CHROMA. The recitatives, skilfully and sensitively accompanied by harpsichordist Charlotte Forrest, raced along - convincing, lively conversations rather than dramatic longueurs (the contrast to Figaro at the ROH the evening before was notable). It was in the act finales - where the characters enter in rather jerky succession compared with the smooth accumulation of texture and tempo of the later operas - that Griffiths most particularly showed his dramatic acumen, managing the abrupt changes of style, tempo and time signature with impressive control, forming an effective chain of contrasting sections.

Occasionally the on-stage shenanigans were perhaps rather too busy and barmy, but this may well have been a result of the restrictions imposed by the limited stage area: the elongated narrow strip must have seemed exasperatingly cluttered and congested compared to the more expansive dimensions of the open-air stage at the Deanery Gardens in Bampton for which the production was devised. (Incidentally, operatic croquet seems to be all the rage at present: BYO’s recent production of Cimarosa’s The Secret Marriage featured a panoply of ‘sporting’ ensembles - but Bampton got there first!) Overall, this was another discerningly amusing performance by Bampton Classical Opera: a cheerful, charming production which confirmed the essential mystery of the ordinary and the inscrutability of the world of love.

Claire Seymour

Bampton Classical Opera will perform La finta semplice at The Barn at Bury Court on 20 October.

Cast and production information:

Giacinta, Caryl Hughes; Fracasso, Adam Tunnicliffe; Ninetta, Nathalie Chalkley; Simone, Gavan Ring; Rosina, Aoife O’Sullvan; Don Polidoro, Robert Anthony Gardiner; Don Cassandro, Nicholas Merryweather; Director/Designer, Jeremy Gray; Costume Designer, Fiona Hodges; Conductor, Andrew Griffiths; CHROMA.

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):