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J Haydn: Arianna auf Naxos, La Canterina, WA Mozart: Symphony no 29 in A major: Bampton Classical Opera, Holywell Music Room, Oxford, 24 November
2013.
Bampton Classical Opera was founded in 1993 by its current artistic
directors, Gilly French and Jeremy Gray. In the twenty years since its
foundation, it has achieved fame far beyond the boundary of the West
Oxfordshire village from which it takes its name, in particular for its revival
of little known chamber operas – operlets—often given a modern ‘take’ but
aiming for an authentic sound produced by old instruments. Their autumn
programme of three works by Haydn and Mozart was given privately at Wotton
House and at the Holywell Music Room. I attended the latter with a pitifully
small audience for a remarkable musical experience.
The singers were accompanied by the Bampton Classical Players on period
instruments comprising string quartet with double bass, two oboe/cor anglais, two
horns and harpsichord. This was an extremely well-balanced ensemble, the double
bass making an essential contribution. The conductor was Toby Purser.
The concert opened with Haydn’s 1789 dramatic cantata Arriana
auf Naxos, a work consisting of two over-long narrative recitatives and two
slow arias with Arianna going through the full range of emotions on being dumped
by Theseus. It depends heavily on the singer to hold the audience’s attention.
On this occasion it was done admirably by mezzo-soprano Caryl Hughes who did
full justice to the limited variety in the
music.
The second work, Mozart’s Symphony no 29, enabled us to concentrate on
the sound produced by the period instruments. This was intriguing, with this
ensemble, with extreme chamber music clarity, tempered by the rather thin
quality of individual instruments. It is interesting to hear occasionally, not
as how the composer wanted it to sound but as how he made the best of what was
available in his time, always striving for better instruments. Mozart’s
29th Symphony has a special place in my heart because it was in the first concert to which I took the girl who later became my wife. It was then conducted by Thurston Dart, then
a leader in the movement to aim for an authentic style of performance. Although
using modern instruments, he favoured small orchestras, introducing harpsichord
rather than piano continuo and fast tempi. On this occasion the tempi were well
chosen though the Andante could have been more ambulatory.
Haydn’s ‘Intermezzo in two short acts’ La canterina although billed as an opera is, like
many of the composer’s early works for voices and orchestra, not really an opera at all in an unqualified sense. Comissioned in 1766 for private performance it is far less sophisticated than early operas with which it is contemporary. It is slight but, in this production, witty and extremely entertaining. The story concerns the greedy and
manipulative diva of the title Gasparina, sung by soprano Nathalie Chalkley,
and two men in her life, Don Ettore, a young man with more money than sense
sung by Caryl Hughes and Don Pelagio, (tenor Oliver Mercer) her teacher.
Presiding over all is Apollonia, Garsperina’s agent, confidante, mentor,
performed by tenor Adam Tunnicliffe, with costume recalling Dame Edna
Everage.
The two acts are set in a studio in the rooms of Pelagio where are
lodged Gasparina and Apollonia, both owing rent and fees. He arrives to teach
Gasparina, who he fancies, a new aria, interrupting a visit from Ettore,
attempting to seduce her with jewels, whose presence has to be explained as a
linen draper. Pelagio catches them again in a second encounter and furiously
threatens to evict Gasparina and Appolonia. Using feminine wiles and a
swoon,Gasparina causes Pelagio to soften and both men to empty their
purses.
To the innocent ear the work comes over as a rather strange
composition. Its backbone is dialogue between Apollonia and Pelsgio with each
in turn nagging and attempting to bully Gasparina. Her responses are
interrupted by the others so she does not get a real chance to sing before a
final aria near the end..
Directed by Jeremy Gray, the work is performed with impeccable comic
timing, making good use of the space available. The whole evening was totally
engrossing. Next year I hope their productions receive better
publicity.
30 November 2013