 |
 |
|
 |
||
|
Haydn at Esterhaza 1766-8
Lucy Crowe – Soprano Andrew Kennedy – Tenor Ian Page - Conductor
Wigmore Hall 28 September 2005
Two arias from “La canterina” - Et incarnatus est from “Missa Cellensis” Vidit suum from “Stabat Mater” Three arias from “Lo speziale” Symphony No 49 in F minor “La Passione”
Extracts from Haydn's two earliest and least known operas formed the “meat in the sandwich” of this varied concert devoted to music composed in the period 1766-78, Haydn's first years as full Kapellmeister to Prince Nicholas Esterharzy in his resplendent new palace.
In La canterina * Gasparina, the songstress of the piece is courted by her ridiculous music teacher Don Pelagio. His aria “Che mai far deggio?” is a pastiche of a singing lesson – a recitative describing the new song he has written for his pupil, a long and self-important orchestral introduction, and finally the antic lima x of his setting of a few lines of dismal verse. Andrew Kennedy made the most of the comic opportunities, singing with precise mock gravity and turning around to “conduct” the orchestral passage. After some confusion Gasparina is evicted, and Lucy Crowe gave us her heartfelt plea for help “Non v'e chi mi aiuta”.
Only a partial score for Lo speziale has survived, but it can claim to contain the only known aria in the operatic cannon to describe a cure for constipation. The apothecary's assistant sings “Per chel che ha mal di stomaco” whilst he prepares the potion – another opportunity for characterisation which Kennedy seized with gusto.
Volpino (soprano), a suitor for the Semprone's niece, fails to impress and resorts to the ploy of impersonating a rich pasha. We heard first his lament “Amore nel mio petto” and then the gobbledygook Italian of the pasha's greeting “Salamelica, Semproga cara”, Lucy Crowe this time getting a slice of the comedy.
Both singers were in fine voice, making light of the complexities of the music and delighting the audience
The programme had begun with Symphony No 59, entitled “Fire” as it is thought to have been used as an entr'acte to Grossman's play “ Die Feuersbrunst ”. It's a lively piece, full of humour and ingenuity – a good opener to the evening – perhaps just a little lacking in sparkle. The finale was Symphony No 49 “La Passione” one of Haydn's “church sonata” works. This the orchestra really responded to and gave a lovely sweeping performance, under Ian Page's sensitive conducting.
Before and after the interval there were extracts from Haydn's religious music. Andrew Kennedy was the soloist for these, and gave a moving account of the “Et incarnatus est” from the Missa Cellensis . Haydn's Stabat Mater is not a patch on the better known setting by Pergolesi, but it was interesting to hear an extract from it, again flawlessly performed.
Certainly the audience enjoyed a very rich and varied musical diet that evening, and more is promised by the Company. They will open the Wigmore Hall's celebration of the 250 th anniversary of Mozart's birth with a concert devoted to the work of the composer's childhood, and begin the ambitious project of a presenting the UK's first ever complete cycle of Mozart opera's.
Serena Fenwick
* See also La canterina at Arosa
|