Beatrice Cenci is an opera by Berthold Goldschmidt; a composer who moved from Germany to London in the 1930s for the usual reason. Beatrice Cenci was written in 1950 but the orchestral style sounds rather earlier. Comparisons with Mahler have been made though I don’t really see that. Richard Strauss or Korngold perhaps? In any event the work didn’t get performed at all until the 1980s and had to wait until the 2018 Bregenz Festival for its first fully staged production directed by Johannes Erat. Curiously, though originally composed with an English libretto it was given in German in Bregenz.
Driftwood Theatre’s Bard’s Bus Tour touched down at Withrow Park yesterday evening in near perfect conditions for their lightly updated musical version of A Midsummer Night’s Dream. D. Jeremy Smith’s production is cleverly constructed to cover off all the bases with a cast of only eight and with the minimal staging possible for an outdoor touring production. The updating makes the Mechanicals into Oshawa auto workers. The music is largely integral; parts of the text being set to music by Kevin Fox and Tom Lillington further adapted and performed by Alison Beckwith with support from various members of the cast. There are cuts and the whole piece runs about an hour and forty five minutes without an interval.
In the booklet accompanying David McVicar’s production of Le nozze di Figaro, recorded at the Royal Opera house in 2006, there’s an essay by the director in which he raises all kinds of questions about the rise of the bourgeoisie, the nature of revolution and romantic conceptions of love. He even appears to draw a parallel between Joseph II and Tony Blair. Then he declines to explain how he has embodied all these ideas on the stage and challenges us to “Watch, listen, participate”. Well I did and I’m none the wiser. What I see her is an essentially traditional approach; transferred cosmetically to 1830s France but so what? It’s darker than some Figaro’s but not nearly as dark as, say, Guth. Curiously, the main “extra” on the disks “Stage directions encoded in the music” tees this up much more clearly than the essay.
John Eliot Gardiner’s 1992 Cosi Fan Tutte is, on the face of it, very similar to the Il Nozze di Figaro he recorded the following year. Both feature period costumes and sets and no attempt is made to hide that these are stage productions in a theatre (the Châtelet). Both productions feature young, attractive singers of talent drawn from Gardiner’s orbit. However , where the Figaro seems devoid of original dramatic ideas, the Cosi is more densely constructed. Gardiner produced this himself and although he leaves the detailed stage direction to Stephen Medcalf the concept is clearly his. He sees the piece being largely about the development of the two sisters from essentially undifferentiated stereotypical unmarried girls of their class in Act 1 into fully self aware adults in Act 2. He roots this interpretation in the score arguing that Mozart wasn’t even sure which of the girls he was writing for in the first act. To support this concept he casts two similar sounding sopranos. To cast a mezzo as Dorabella is, says Gardiner, “a 20th century aberration”. In Act 1 they are dressed identically transitioning in the final scene to mirror images of each other. In Act 2 they are visually fully differentiated. This overall idea is backed up bu careful direction of the singers and painterly sets evoking the Bay of Naples. Good use is made of the auditorium as well as the stage especially in Guglielmo’s Act 2 aria “Donne mie, la fate a tanti”. So, it’s pretty to look at but there’s a good deal more to it than that.
Musically it’s of the highest quality; at least if you like period instruments in Mozart and I do. From the very first bars of the overture; taken at a pretty fair lick, I bounced to the spritely sound of the English Baroque Soloists. The singers are excellent. Amanda Roocroft is Fiordiligi and she manages a vocally sure but psychologically conflicted “Come scoglio” with aplomb. She also sings a really lovely “Per pietà”. Rosa Mannion is not far behind as Dorabella though, of course, she has rather fewer opportunities for display. Rainer Trost is a wonderfully lyrical Ferrando with a lbeautiful rendering of “Un’aura amorosa”. Rodney Gilfrey is a muscular, even macho, Guglielmo. Mezzo Eirian James plays Despina and is more convincing than many in that role especially in the doctor/attorney scenes. She’s the scheming maid to the life. Don Alfonso is played by baritone Claudio Nicolai and he’s much lighter voiced than is usual for the role. This fits with an interpretation that is nuanced rather than buffo. Ensemble work is consistently excellent.
Peter Mumford directed for DVD. I think this was specifically recorded for home use rather than for TV broadcast and, for the era, it’s really good. He uses some unusual camera angles but never gratuitously and we can see what we need to see to understand the production. There are a few moments of gratuitous artsiness with head shots fading to backdrop and so on but it’s not really troubling. The picture is 16:9 and good DVD quality though not on a par with true modern HD. The production was recorded in stereo but DGG have worked some digital wizardry to produce Dolby 5.1 and DTS 5.1. The DTS is pretty vivid and well balanced. The only extras are some trailers for other Gardiner Mozart recordings. The documentation includes an interesting essay by Gardiner. There are English, German, French, Italian , Spanish and Chinese subtitles.
All in all, this is well worth seeing for anyone interested in HIP versions of mozart or just looking for a solid, undistracting well played and sung version. It won’t do much for the Regie fans though.