Handel: Aminta e Fillide
Opera Settecento, Leo Duarte
The Handel Friends
St George’s, Hanover Square, 28 November 2019
It was entirely appropriate that this concert, given under the auspices of The Handel Friends, should take place in Handel’s own church of St George’s, Hanover Square, just round the corner from his surviving home. After 30-minutes of instrumental music and sumptuous interval refreshments (all part of the deal) came an inspirational performance of Handel’s pastoral cantata Aminta e Fillide, performed with the soprano duo Fair Oriana (Angela Hicks & Penelope Appleyard).
Penelope Appleyard & Angela Hicks (Fair Oriana) Continue reading →
Weiss & Hasse: Lute Sonatas
Audax ADX13713. 57’19
Hasse: Sonata in A; Sonata in E flat major
Weiss: Sonata in D minor; Prelude in C minor; Passacaglia in D major
Rather like the mythical dying swan, the lute went through something of a peak as it approached its ultimate decline, along with the Baroque era that had provided it with so much music. The pieces here recorded by Silvius Leopold Weiss and Johann Adolph Hasse, close colleagues in the Dresden court orchestra, are amongst the last gasps of a centuries-old genre and represent a final flowering – until, of course, the last few decades. The two Hasse Sonatas were originally composed for harpsichord, but survive in a simplified transcription for lute, although for this premiere recording Jadran Duncomb has reinstated some of the original keyboard notes of the opening Sonata in A. This, and the Sonata in E flat (which is far from simplified in the lute arrangement), represent the move towards the Gallant style. They are from a set of four Sonatas dedicated to the wife of French Dauphin, the daughter of the Saxon Elector. Continue reading →
Innsbrucker Festwochen der Alten Musik 2018
Innsbruck, 23-25 August 2017
The Innsbruck Festival of Early Music runs annually for about three weeks during August. It was founded in 1976 and has traditionally focussed on Baroque opera. In recent years it has included three each season, including the Barockoper:Jung. This uses singers chosen from the finalists of the previous year’s International Singing Competition for Baroque Opera Pietro Antonio Cesti, named after Antonio Cesti, a 17th-century Italian singer and composer who served at the Innsbruck court of Archduke Ferdinand Charles of Austria. Unfortunately, I was only able to attend for three days but those included two of the operas and the Cesti final.
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Serpent and Fire
Il Giardino Armonico, Anna Prohaska
Royal Albert Hall. 2 August 2018
Serpent and Fire is probably a better concert title that ‘Two Suicidal African Queens’, but Anna Prohaska’s exploration of the musical characters of Dido and Cleopatra certainly delved the emotional issues that caused both Queen’s demise. Despite her plea to ‘forget my fate’, Dido’s end is etched in all music-lovers minds, and it closed this late-night BBC Prom. Purcell’s Ah! Belinda providing the opening, introducing the Anna Prohaska’s beautifully clear and pure voice, and her use of the gentlest of vocal inflexions, quite correctly, as an ornament, for which I will readily forgive her the occasional tendency to slightly slur notes together. She later joined the very rare catalogue of early music singers who can produce a proper trill, rather than just relying on vibrato. The curious pauses in Ah! Belinda were the first of a number of directorial oddities provided by conductor Giovanni Antonini.
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Early Music Festival
27 February – 4 March 2017
Müpa Budapest is the sensibly shortened title of Művészetek Palotája, the national cultural centre situated on the Danube just south of the centre of the Pest side of Budapest. The building opened in 2005 (as the Palace of the Arts), and was designed by the young Hungarian architects Zoboki, Demeter and Partners. It includes the Béla Bartók National Concert Hall (Bartók Béla Nemzeti Hangversenyterem), the Festival Theatre (Fesztivál Színház), also suitable for smaller scale concerts, several other performing spaces and an outpost of the Ludwig Museum, best known for its Vienna contemporary art gallery. The centre hosts an enormous range of activities throughout the year and, for the past three years, has been running a short early music festival, this year consisting of six events. I was invited to review five of them, between 27 February to 4 March, featuring performers based in Italy, Austria, Germany, Switzerland and Budapest.
Hasse: Piramo e Tisbe
Europa Galante, Fabio Biondi
Müpa: Festival Theatre , 27 February 2017
The first event took place in the Festival Theatre (Fesztivál Színház). Designed for speech and drama, it also proved very effective as a small scale music performance space, seating around 460. A substantial acoustic screen (pictured) is used to reduce the size of the large theatrical stage, focussing the sound of musicians and helping to project the sound to the audience. The acoustics are clear, with sufficient reverberation to create an effective music listening environment. Continue reading →
Opera Settecento, Leo Duarte
Cadogan Hall, 21 September 2016
Johann Adolph Hasse (1699-1783) is one of those historically unfortunate composers who achieved great fame during their lifetimes but have since been more-or-less forgotten. A prolific composer of opera, he was hailed by Charles Burney as being superior to all other lyric composers. Married to the famed soprano Faustina Bordoni, the couple became the Posh and Becks of their day. Usually based in Dresden in the Court of the Saxon Elector Frederick III, Hasse had special dispensation that avoided the need to travel annually to the Polish Court, where Frederick was also the elected King. He also maintained a post in Venice at the Ospedale degli Incurabili. He lived long enough to have performed in front of Bach and the young Mozart.
This was the modern première of the opera Demetrio, presented by the musically adventurous Opera Settecento. Although the publicity suggested that we would hear the original 1732 Venice version, it was the later 1740 Dresden version that was performed. This included several new arias, but Continue reading →