lietofinelondon

Cara il dolce London Bach

In Classical Music, Opera, Review on April 15, 2015 at 10:30 am

Review – Adriano in Siria (Mozart 250, Britten Theatre, Tuesday 14 April 2015)

Adriano – Rowan Hellier
Emirena – Ellie Laugharne
Farnaspe – Erica Eloff
Sabina – Filipa van Eck
Osroa – Stuart Jackson
Aquilio – Nick Pritchard

Director – Thomas Guthrie
Designer – Rhys Jarman
Lighting Designer – Katherine Williams

The Orchestra of Classical Opera
Ian Page (Conductor)

A recording of JC Bach’s Opus 3 symphonies was – together with Dittersdorf’s Doktor und Apotheker – the very first album I bought. And it was in a dusty second-hand record shop that I began my life-long love of JC Bach. From my adolescence, whenever Mozart was mentioned I would pipe up about JC Bach’s influence. Since then I have picked up whatever recordings I could find but I have to admit that Classical Opera’s staging of Adriano in Siria is the first time I have seen a complete performance of an opera by the London Bach.

I admit it, Eighteen Century opera seria might not be to everyone’s taste – the perception of endless da capo arias, the perception of a lack of characterisation and of course the perception that the stories themselves are beyond incredulous. However, anyone who has read Martha Feldman’s excellent Opera and Sovereignty will realise not only the important role opera seria played then but also – I hope – recognize that some of the values portrayed then remain relevant.

Adriano in Siria is in some ways, atypical, of the norm. By 1765, JC Bach had realised that the genre needed ‘modifying’ and therefore this opera contains few choruses and many a deliberately abridged da capo aria and therefore I am glad that Classical Opera performed the opera with barely any cuts.

Overall, the opera offers the full range of seria arias, each demonstrating that JC Bach was a skilled and sensitive opera composer. It is not surprising that Cara il dolce fiamma has proved enduringly popular – it epitomises not only Bach’s own operatic style but, I think, the genre in that period which laid the foundations for Mozart’s own adventures in opera seria.

However I do have one small gripe. At a time when you can’t throw a score of a not-performed-for-over-two-hundred-years opera without hitting a countertenor, why wasn’t there one in the cast? Personally I felt it was a shame but overall it was a valiant effort. While not all the singers were quite suited to their roles, there was no doubting their musicianship and commitment.

Disperato, in mar turbato is a fiendishly difficult opening aria for any singer, but despite a less than confident start, Erica Eloff carried off the role of Farnaspe with some brilliance. Without a doubt Cara la dolce fiamma – which so impressed Mozart – was the highlight of the event, and Ms Eloff sang it with great elegance and sensitivity, but her performances of Dopo un tuo sguardo and Son sventurato, ma pure – where she sailed through Bach’s vocal lines with ease, demonstrated that she is a talent singer with a natural affinity with music of this period. As her beloved, Ellie Laugharne didn’t sound consistently confortable with Emirena’s music, stretched at the top of her range and with uneven moments in terms of her coloratura and maintaining a smooth legato line. However, there was no doubting her sincerity in the scena Ah, come mi balza … Deh, lascia, o ciel, pietoso.

The other star-crossed lovers fared less well. Rowan Hellier’s Adriano again got off to a less than confident start with cloudy and inconsistent singing in her opening Dal labbro, che t’accende but she fared better in the declamatory Tutti nemici, e rei. Sadly, the Sabina of Filipa van Eck was not ideally cast. Again there was no doubting her technique or investment in the role but her voice – at times overly strident and strained – was not suited to JC Bach’s music.

The Osroa of Stuart Jackson was, apart from Eloff’s Farnaspe, the most characterful performance. In possession of a light yet secure tenor, he tackled both his main metaphor arias – Sprezza il furor del vento and Leon piagato a morte – with both confidence and the regal gravitas. And finally Nick Pritchard waited patiently to deliver his single aria with impassioned gusto.

The production itself – led by Thomas Guthrie – was simple, smart and very effective. It conjured a Romanesque “Siria” up perfectly with more than a nod of inspiration to a classical staging, and I particularly liked the effective use of both lighting and silhouetted backdrops. However, and this is purely personal, I would have dispensed with the origami birds and perhaps reduced the number of extra people on the stage but this aside, it seems that the Britten Theatre inspires a more than usual thoughtful approach.

As ever, Ian Page conducted the opera with instinctive authority with well-judged speeds and in the main not overly ambitious ornamentation in the da capos. Recitatives were well balanced and Page also reveled in the sound world that the London Bach, however simple, wove into the score. In 1765, clarinets would still have been something of a novelty and his use of them – providing a sense of warmth to underline the passions at play – clearly influenced Mozart in his own operas.

I know that Mozart 250 will need to mainly focus on Wolfgang Amadeus, but this was a bold inclusion. I really do hope that we will see more JC Bach – as well as other contemporaries – during the rest of their ambitious project.

Advertisements
  1. […] by Anna Devin, John Mark Ainsley and Ben Johnson and a complete performance of JC Bach’s Adriano in Siria. This is a project both ambitious in its scale as well as superlative in terms of the quality of […]

  2. […] Vero was finely sung by Stuart Jackson, the Osroa of Classical Opera’s Adriano in Siria last year. Suitably imperious, he negotiated his arias with aplomb although I did wont for a bit […]

  3. […] the Orchestra of Classical Opera was indeed on top form. I’d dare say better than I have heard them in a long time. Their surprise […]

Let me know what you think ...

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s

Subitolove

Until I feared I would lose it, I never loved to read. One does not love breathing.

Good Music Speaks

A music blog written by Rich Brown

Kurt Nemes' Classical Music Almanac

( A love affair with music)

Gareth's Culture and Travel Blog

Sharing my cultural and travel experiences

The Oxford Culture Review

"I have nothing to say, and I am saying it" - John Cage

The Passacaglia Test

The provision and purview of classical music

Peter Hoesing

...a musicologist examining diverse artistic media in critical perspective

OBERTO

Oxford Brookes: Exploring Research Trends in Opera

%d bloggers like this: