Bampton Classical Opera
Leonora, by Ferdinando Paer, is an opera, the plot of which, everybody, with operatic connections, knows well. The music, though, is extremely less, familiar. It was written, one year before, that great work of Beethoven’s, which has, sometimes, the same name, but other times, is called Fidelio, which I like, considerably less, Leonora being, one of the truest names, for an operatic heroine. It has been used, in truth, I think, more often, than any other, female name. Verdi, used it three times, in La forza del destino, and Il trovatore, and, an early, and little-known work, Oberto. So he must have liked it, greatly. Donizetti, too, used the name, for the heroine, of his opera, La favourite. I am aware, naturally, that composers, and librettists, based their opera, on other works, but, if Leonora was not, a name of deep appropriacy, for a heroine, they would have chosen, something else.
So Pear’s Leonora, has the same story, the same characters, and, almost, the same libretto, as Beethoven’s. The music, too, has a great similarity. It has not, the soulful depth, of Beethoven, prevelent, in all, his great works, the nine, spectacular, symphonies, the truly ravishing, Moonlight Sonata, and the, wondrous, Fur Elise. Yet, it has beauteous, joyous tone, at least, in the more cheerful parts, and you do not, need to be Beethoven, in order to compose, an agreeable opera. If this was true, Wagner, would have achieved nothing.
The London Mozart Players, played thrillingly, for Bampton Classical Opera, at this performance. Leonora, was sung, by the soprano, Cara McHardy, a soprano, of considerable, vocal weight, yet, she was not without, vulnerability, and femininity. Leonora, has great strength, and courage, but she has few Sapphic tendencies, or she would hardly, have attempted, the rescue. A singer, of promise, and, immense, charm.
Her husband, Don Florestan, was sung, by the delightful, Michael Bracegirdle, who has performed, many important tenor roles, for English Touring Opera, with distinction, yet has, with no less effervessance, taken on, smaller roles, for companies, including, Opera Holland Park and English National Opera. Michael sang warmly, and handsomely, and I, too, would dress up as a boy, and go into murky, horrible, prisons, if he was my husband, and I really don’t like, dirty places, at all.
The comedy couple, of Marcellina, Marzelline in Beethoven’s opus, and Giacchinno, which looks, very different, from Beethoven’s incarnation, Jaquino, but is, actually, pronounced, in exactly, the same way, were sung by the highly promising, Emily Rowley-Jones, who, last year, sang a remarkable, Queen of the Night, for British Youth Opera, and the bass, Samuel Evans. It seemed peculiar, at first, to hear Giacchinno as a bass, as he’s usually, a light tenor, but the character, suited his voice, very well.
Adrian Powter, sang the role, of Rocco, with unusual beauty, of tone, having seen him, in a number, of significantly, contrasting roles, I can only conclude, that he is a singer, of illustrious ability. Jonathan Stoughton, was the despicable, Don Pizzaro, and the impressive, John Upperton, sang Don Fernando.
This was, shockingly, the UK premiere. I believe, it should be performed, quite often, especially as, Fidelio, is not really. It is similar, to Fidelio, but Manon and Manon Lescaut, are the same story, and so are Romeo et Juliette, I Capuletti e i Montecchi and the Romeo and Juliet one BCO did last year and no-one minds that.
Violetta
primi-divi at hotmail.co.uk