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

A Mysterious Lucia at Forest Lawn

On September 10, 2017, Pacific Opera Project (POP) presented Gaetano Donizetti’s Lucia di Lammermoor in a beautiful outdoor setting at Forest Lawn. POP audiences enjoy casual seating with wine, water, and finger foods at each table. General and Artistic Director Josh Shaw greeted patrons in a “blood stained” white wedding suit. Since Lucia is a Scottish opera, it opened with an elegant bagpipe solo calling members of the audience to their seats.

This is Rattle: Blazing Berlioz at the Barbican Hall

Blazing Berlioz' The Damnation of Faust at the Barbican with Sir Simon Rattle, Bryan Hymel, Christopher Purves, Karen Cargill, Gabor Bretz, The London Symphony Orchestra and The London Symphony Chorus directed by Simon Halsey, Rattle's chorus master of choice for nearly 35 years. Towards the end, the Tiffin Boys' Choir, the Tiffin Girls' Choir and Tiffin Children's Choir (choirmaster James Day) filed into the darkened auditorium to sing The Apotheosis of Marguerite, their voices pure and angelic, their faces shining. An astonishingly theatrical touch, but absolutely right.

Moved Takes on Philadelphia Headlines

There‘s a powerful new force in the opera world and its name is O17.

Philly Flute’s Fast and Furious Frills

If you never thought opera could make your eyes cross with visual sensory over load, you never saw Opera Philadelphia’s razzle-dazzle The Magic Flute.

At War With Philadelphia

Enterprising Opera Philadelphia has included a couple of intriguing site-specific events in their O17 Festival line-up.

The Mozartists at the Wigmore Hall

Three years into their MOZART 250 project, Classical Opera have launched a new venture, The Mozartists, which is designed to allow the company to broaden its exploration of the concert and symphonic works of Mozart and his contemporaries.

Philadelphia: Putting On Great Opera Can Be Murder

Composer Kevin Puts and librettist Mark Campbell have gifted Opera Philadelphia (and by extension, the world) with a crackling and melodious new stage piece, Elizabeth Cree.

Mansfield Park at The Grange

In her 200th anniversary year, in the county of her birth and in which she spent much of her life, and two days after she became the first female writer to feature on a banknote - the new polymer £10 note - Jane Austen’s Mansfield Park made a timely appearance, in operatic form, at The Grange in Hampshire.

Elektra in San Francisco

Among the myriad of artistic innovation during the Kurt Herbert Adler era at San Francisco Opera was the expansion of the War Memorial Opera House pit. Thus there could be 100 players in the pit for this current edition of Strauss’ beloved opera, Elektra!

Turandot in San Francisco

Mega famous L.A. artist David Hockney is no stranger at San Francisco Opera. Of his six designs for opera only the Met’s Parade and Covent Garden’s Die Frau ohne Schatten have not found their way onto the War Memorial stage.

The School of Jealousy: Bampton Classical Opera bring Salieri to London

In addition to fond memories of previous beguiling productions, I had two specific reasons for eagerly anticipating this annual visit by Bampton Classical Opera to St John’s Smith Square. First, it offered the chance to enjoy again the tunefulness and wit of Salieri’s dramma giocoso, La scuola de’ gelosi (The School of Jealousy), which I’d seen the company perform so stylishly at Bampton in July.

Richard Jones' new La bohème opens ROH season

There was a decided nip in the air as I made my way to the opening night of the Royal Opera House’s 2017/18 season, eagerly anticipating the House’s first new production of La bohème for over forty years. But, inside the theatre in took just a few moments of magic for director Richard Jones and his designer, Stewart Laing, to convince me that I had left autumnal London far behind.

Robin Tritschler and Julius Drake open
Wigmore Hall's 2017/18 season

It must be a Director’s nightmare. After all the months of planning, co-ordinating and facilitating, you are approaching the opening night of a new concert season, at which one of the world’s leading baritones is due to perform, accompanied by a pianist who is one of the world’s leading chamber musicians. And, then, appendicitis strikes. You have 24 hours to find a replacement vocal soloist or else the expectant patrons will be disappointed.

The Opera Box at the Brunel Museum

The courtly palace may have been opera’s first home but nowadays it gets out and about, popping up in tram-sheds, car-parks, night-clubs, on the beach, even under canal bridges. So, I wasn’t that surprised to find myself following The Opera Box down the shaft of Isambard Kingdom Brunel’s Thames Tunnel at Rotherhithe for a double bill which brought together the gothic and the farcical.

Proms at Wiltons: Eight Songs for a Mad King

It’s hard to imagine that Peter Maxwell Davies’ dramatic monologue, Eight Songs for a Mad King, can bear, or needs, any further contextualisation or intensification, so traumatic is its depiction - part public history, part private drama - of the descent into madness of King George III. It is a painful exposure of the fracture which separates the Sovereign King from the human mortal.

Prokofiev: Cantata for the 20th Anniversary of the October Revolution: Gergiev, Mariinsky

Sergei Prokofiev's Cantata for the Twentieth Anniversary of the October Revolution, Op 74, with Valery Gergiev conducting the Mariinsky Orchestra and Chorus. One Day That Shook the World to borrow the subtitle from Sergei Eisenstein's epic film October : Ten Days that Shook the World.

A Prom of Transformation and Transcendence: Renée Fleming and the Royal Stockholm Philharmonic Orchestra

This Prom was all about places: geographical, physical, pictorial, poetic, psychological. And, as we journeyed through these landscapes of the mind, there was plenty of reminiscence and nostalgia too, not least in Samuel Barber’s depiction of early twentieth-century Tennessee - Knoxville: Summer of 1915.

The Queen's Lace Handkerchief: Opera della Luna at Wilton's Music Hall

Billed as the ‘First British Performance’ - though it had had a prior, quasi-private outing at the Roxburgh Theatre, Stowe in July - Opera della Luna’s production of Johann Strauss Jnr’s The Queen’s Lace Handkerchief (Das Spitzentuch der Königin) at Wilton’s Music Hall began to sound pretty familiar half-way through the overture (which was played with spark and elegance by conductor Toby Purser’s twelve-piece orchestra).

Glyndebourne perform La clemenza di Tito at the Proms

The advantage of Glyndebourne Opera’s performances at the BBC Proms is that they give us a chance to concentrate on the music making. And there was plenty of high-quality music-making on offer at the Royal Albert Hall on Monday 28 August 2017 when Glyndebourne Opera performed Mozart’s La clemenza di Tito.

Rossini’s Torvaldo e Dorliska in Pesaro

The rare and somewhat interesting Rossini! Torvaldo e Dorliska (1815) comes just after Elisabetta, Regina di Ingleterra (the first of his nineteen operas for Naples) — a huge success, and just before Il barbiere di Siviglia in Rome — a failure.

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):