Bampton Classical Opera was founded in 1993 by its current artistic directors, Gilly French and Jeremy Gray. In the twenty years since its foundation, it has achieved fame far beyond the boundary of the West Oxfordshire village from which it takes its name, in particular for its revival of little-known chamber operas – what can be termed ‘operlets’ — often giving a modern ‘take’ but aiming for an authentic sound produced by old instruments. Their autumn programme of three works by Haydn and Mozart was given privately at Wotton House and at the Holywell Music Room. I attended the latter with a pitifully small audience for a remarkable musical experience.
The singers were accompanied by the Bampton Classical Players on period instruments comprising string quartet with double bass, oboe, cor anglais, two horns and harpsichord. This was an extremely well-balanced ensemble, the double bass making an essential contribution. The conductor was Toby Purser.
The concert opened with Haydn’s 1789 dramatic cantata Arianna auf Naxos, a work consisting of two over-long narrative recitatives and two slow arias with Arianna going through the full range of emotions on being dumped by Theseus. It depends heavily on the singer to hold the audience’s attention. On this occasion it was done admirably by mezzo-soprano Caryl Hughes who did full justice to the limited variety in the music.
The second work, Mozart’s Symphony No 29, enabled us to concentrate on the sound produced by the period instruments. This was intriguing, with this ensemble, with extreme chamber music clarity tempered by the rather thin quality of individual instruments. It is interesting to hear occasionally not how the composer wanted it to sound but how he made the best of what was available in his time, always striving for better instruments. Mozart’s symphony has a special place in my heart because it was the first concert to which I took the girl who later became my wife. It was then conducted by Thurston Dart, a leader in the movement for an authentic style of performance. Although using modern instruments, he favoured small orchestras, introducing harpsichord rather than piano continuo and fast tempi. On this occasion the tempi were well chosen although the Andante could have been more ambulatory.
Haydn’s La canterina, although billed as an opera, is like many of the composer’s early works for voices and orchestra not really an opera at all in an unqualified sense. Commissioned in 1766 for private performance it is far less sophisticated than Mozart’s early operas with which it is contemporary. It is slight but, in this production, witty and extremely entertaining. The story concerns the greedy and manipulative diva of the title Gasparina, sung by soprano Nathalie Chalkley, and the two men in her life: Don Ettore, a young man with more money than sense sung by Caryl Hughes, and Don Pelagio (tenor Oliver Mercer), her teacher. Presiding over all is Apollonia, Gasparina’s agent, confidante, and mentor, performed by tenor Adam Tunnicliffe with costume recalling Dame Edna Everage.
The two acts are set in a studio in the rooms of Pelagio where Gasparina and Apollonia lodge, both owing rent and fees. Pelagio arrives to teach Gasparina, whom he fancies, a new aria, interrupting a visit from Ettore, who attempts to seduce her with jewels, and whose presence has to be explained (Gasparina pretends that he is a linen draper). Pelagio catches them again in a second encounter and furiously threatens to evict Gasparina and Apollonia. Using her feminine wiles and a swoon, Gasparina causes Pelagio to soften and both men to empty their purses.
To the innocent ear the work comes over as a rather strange composition. Its backbone is dialogue between Apollonia and Pelagio with each in turn nagging and attempting to bully Gasparina. Her responses are interrupted by the others so she does not get a real chance to sing before a final aria near the end.
Directed by Jeremy Gray, the work was performed with impeccable comic timing, making good use of the space available. The whole evening was totally engrossing. Next year I hope Bampton’s productions receive better publicity.