This dramatic opera is associated with one of Mozart’s sojourns in Milan. The Austrian genius was sixteen when he composed this jewel of bel canto dedicated to the general and dictator of Ancient Rome: Lucio Silla made its debut on 26 December 1772, when Mozart was almost seventeen. It was the third opera that he had staged in the Regio Ducal Theatre, Milano. The staging by Marshall Pynkoski, specialized in eighteenth-century operas with particular insights into Baroque dance, drama and gestures, pays „attention to detail, making use of scenes and eighteenth-century impeccably decorated costumes designed by a specialist of the genre in film, Antoine Fontaine“ (delteatro.it). „The female cast is remarkable“ (La Repubblica).
Il Re Pastore (Mozart 22)
Critics were unanimous in their praise of the opening production of the Mozart 22 project at the Salzburg Festival 2006: the premiere of the serenata “Il rè pastore” K. 208. It was composed in early 1775 for the visit to Salzburg of Archduke Maximilian. As in “La finta giardiniera” of the previous year, it takes up the motif of the trials of love and virtue in a pastoral setting. The shepherd Aminta unexpectedly learns that he is the rightful heir to a kingdom. Initially delighted to become a king, Aminta loses his enthusiasm when he learns he must marry Tamiri instead of his beloved Elisa. Thomas Hengelbrock, the production’s director and conductor, gives eloquent voice to Mozart’s tale with his Balthasar Neumann Ensemble, which plays on original instruments (including an early “fortepiano” instead of the traditional harpsichord as continuo instrument). At 19, Mozart was no beginner, and his next work was to be “Idomeneo,” which is generally considered to be his first operatic masterpiece. In “Il rè pastore,” it is amazing how Mozart manages to infuse life into the rigid conventions of the opera seria genre. There is dramatic impact and emotional depth, for example in Aminta’s rondo “L’amerò, sarò costante” with obbligato solo violin; and there are poignant depictions of inner torment, as in Agenore’s great aria supported by four natural horns. The music is a panorama of contrasting colors, a kaleidoscope of changing moods that are given a sharp and brilliant profile in this performance. Hengelbrock underscores the youthful freshness and liveliness of the score by keeping the singers on stage during the entire performance. They change costumes and apply make-up in two curtained-off cubicles, emerging to watch their colleagues’ performances. And although the performers are always in action, the character of the production remains intimate, almost concert-like. Hengelbrock explains this from a historical viewpoint: “Our stage version guides itself on the circumstances of the premiere, which took place [in April 1775] at the Archbishop’s Residence and not in a theater.”
Handel, Theodora
Handel’s own favourite amongst his English oratorios, Theodora proved a surprising failure at its 1750 London premiere, receiving only three performances and being revived just once before its composer’s death. That Theodora is now recognized as one of the most sublime and moving creations of Handel’s final years is largely due to the passionate advocacy of William Christie, who here directs his peerless period-instrument ensemble Les Arts Florissants for this new production at the Théâtre des Champs-Elysées. The starry cast is led by young British soprano Katherine Watson, instilling the title-role with her “vocal bloom, emotional depth and beguiling phrasing” (New York Times), and leading French counter-tenor Philippe Jaroussky, bringing his “seraphic timbre” (Les Echos) to the role of Didymus. Directed with “luminous simplicity” (Artistik Rezo) by Stephen Langridge this powerful and uplifting production transforms its historical story into a “timeless yet terribly current” (France TV Info.com) plea for freedom of conscience and religious tolerance in contemporary society.