Review – Mozart 250 (Milton Court, Saturday 21 & Sunday 22 February 2015)
An Exotic and Irrational Entertainment
Anna Devin & Martene Grimson (Sopranos) Samantha Price (Mezzo-soprano)
London Concert Life in 1765
Eleanor Dennis (Soprano)
Ben Johnson (Tenor)
The Orchestra of Classical Opera
Ian Page (Conductor)
Ian Page and Classical Opera threw themselves headlong into a weekend of music and lecturesafter the successful opening concert of their adventure, Mozart 250. Sadly at the last moment I wasn’t able to attend the entire weekend but did manage to catch two of the concerts – An Exotic and Irrational Entertainment and the closing concert of the weekend, London Concert Life in 1765.
The first concert focused on Italian opera in London in the 1760s, offering a selection of arias by lesser-known composers that formed the backbone of – it seemed – a predilection for pastiche operas in London, as well as another selection from JC Bach’s Adriano in Siria. I must admit that none of the arias by the ‘unknown’ composers truly stood out, except perhaps Se non ti moro a lato by Davide Perez with its unusual harmonic twists at the cadences, and indeed I did feel that Pescetti – and in particular his Caro mio bene, addio – slightly outstayed his welcome.
However the selections by JC Bach again begged the question of why his operas – or at least the arias – aren’t performed more often. Take Deh lascia, o ciel pietoso for example, with its dramatic accompagnato, noble melody and deeply hued scoring including clarinets. Indeed it made me wonder if the London Bach’s use of the instrument wasn’t the initial inspiration for Mozart’s own love of the instrument. And it was beautifully sung by Anna Devin, with beautifully controlled legato, intelligently shaded phrasing and a real sympathy with JC Bach’s music, as was further evidenced by her performance of Confusa, smarrita. Samantha Price also made a promising debut with Classical Opera. The full warmth of her voice and her technical ability – especially in Tutti nemici e rei – should ensure her a promising career not only in this repertoire but hopefully in lieder as well. I was less convinced by Martene Grimson, who never sounded completely at ease in the music. I felt there was breathiness to her singing and her coloratura, while good, was not as well defined or controlled.
I also must admit that much as I love Eighteenth Century opera – da capos and all – I did wont for some orchestral music as relief from the deluge of arias that were presented.
Sunday night’s concert, a snapshot of musical life in 1765 was therefore more satisfying, featuring as it did both arias and orchestral music. Of the orchestral inclusions, it was Karl Friedrich Abel’s Symphony in E Flat, Opus 7 that was the most delightful and weighty discovering. With its luxurious scoring and real sense of symphonic gravitas, it outshone the contributions of JC Bach and Mozart on the evening.
Two of the arias performed were ‘repeats’ from the opening concert. Ben Johnson’s performance of Va, dal furor portata was suitably confident and forthright – his full tenor soaring over the orchestra and providing a suitably bravura contrast to his touching and refined rendition of Non so d’onde viene from JC Bach’s Ezio. Eleanor Dennis is in possession of a bright and full-throated soprano with an impressive range, however her performances were slightly marred by slightly occluded diction as well as challenges in breath control, especially in her first aria Cara, la dolce fiamma which demands so much of the singer in terms of its expansive vocal line. However her encore, a beautiful aria by Giardini with its unusual scoring for obbligato cello and violas only, was a real gem.
Throughout Ian Page and the Orchestra of Classical Opera performed with both great virtuosity and sympathy to the singers. The warmth of their playing was combined with technical confidence and real attention to dynamic as well as rhythmic detail.
Both concerts provided an interesting slice of musical life in London at the time that Mozart visited. But it did seem odd that we didn’t hear more of Mozart’s own vocal music at the time. A few numbers from works such as Die Schuldigkeit des ersten Gebots or Apollo et Hyacinthus or even La finta semplice would have provided a true sense of context and influence perhaps.
But after the weekend, it seems almost too long a wait for Adriano in Siria.