New Chamber Opera’s solid are glorious in Haydn’s La vera costanza which is successfully dramatic – Seen and Heard Worldwide

United Kingdom New Chamber Opera – Haydn, La vera costanza: Soloists, The Band of Devices / Steven Devine (conductor). New School, Oxford, 26.6.2024. (CR)

Manufacturing:
Director – Michael Burden

Forged:
Rosina – Aine Smith
Baroness Irene – Lara Marie Müller
Lisetta – Kate Semmens
Rely Errico – Joseph Doody
Marquis Ernesto – David Horton
Masino – Robert Forrest
Villotto – Thomas Niesser

The plot of Haydn’s La vera costanza (1779, however reconstructed in 1785) bears some similarities to the well-known story of affected person Griselda, set as an opera by varied composers, through which the advantage of a spouse is examined. However, in combining components of an eighteenth century ‘sentimental’ drama with opera buffa, the narrative includes varied extra comical and sensational twists. Baroness Irene intends to place an finish to her nephew, Rely Errico’s love curiosity within the fishermaid Rosina, by attempting to attract her consideration to the hapless Villotto as a substitute. Though Errico and Rosina have already been married in secret, and regardless of the exams to her constancy by the Baroness, Villotto and even Errico, who all plot to homicide her at one level or different owing to misunderstandings (wilful and unintentional), advantage lastly triumphs as she stays the true fixed of the opera’s title. Comedian subplots contain the Baroness’s personal love curiosity within the youthful Marquis Ernesto, and Lisetta’s curiosity in Rosina’s brother Masino, ensuing within the regular net of coNFLicted intrigue and motivations which drive the narrative.

With even handed cuts, and a vigorous translation of the libretto by Simon Rees with trendy idioms, Michael Burden’s manufacturing doesn’t impose any explicit idea upon a situation which may nicely come below the scrutiny and critique of latest feminist thought, however moderately lets the motion communicate in its personal extra ironic and idiosyncratic phrases. Throughout the context of what’s an primarily chamber efficiency al fresco and in roughly within the spherical, with a minimal set, the solid are excellently engaged with the mood and tempo of the work in order that the drama could be very successfully carried by their performing and choreography. That helps to make sense of the convoluted threads of the plot, and clear diction from the singers additionally permits the dialogue, with its kinds of humour, to be adopted simply, in arias in addition to recitatives.

Regardless of the trials which Rosina has to endure, Aine Smith is calmly expressive and transferring because the heroine: she tasks the pathos of Rosina’s scenario with out breaking into uneasy fury or volatility, even within the high quality scene for her in Act II through which Haydn alternates accompanied recitative and arioso with the assist of strings whose music anticipates the depth of the Seven Final Phrases, or could also be in contrast with the identical type of the sluggish motion of the String Quartet Op.20 No.5. Capriciousness is moderately left to the undependable males. Though Errico receives a usually pressing and lyrical efficiency from Joseph Doody, there’s nonetheless the aria for the character through which he regrets giving murderous orders to Villotto, and imagines himself as just like the widowed Orpheus, which begins as a lament however turns into, in essence, a rage aria. Thomas Niesser sings warmly however nimbly as Villotto, whose stupidity is commonly commented upon within the libretto and is made a determine of enjoyable. When he declares his intention of becoming a member of the military to flee the awkward scenario he finds himself in between Rosina and Errico, the latter is prompted to imagine one thing of the identical jauntiness in an upbeat aria whose scenario intently foreshadows Figaro’s celebrated ‘Non piu andrai’ with respect to Cherubino.

David Horton is a voluble Ernesto, even generally tetchy, along with his personal stake within the intrigue because the would-be husband of the Baroness, whereas Robert Forrest demonstrates cooler candour as Masino, Rosina’s brother, who opposes the plan for Villotto to pair off along with her. Lara Marie Müller sings with authority because the Baroness, persuasive however not strident; and under no circumstances final and least is Kate Semmens – a stalwart of New Chamber Opera, and by pleasant coincidence, a Lisetta final 12 months in Paisiello’s La Frascatana (evaluate right here) – on characteristically zippy, spirited kind because the Baroness’s resourceful, quick-witted maid.

Animated and buoyant too are the Band of Devices, led from the harpsichord by Steven Devine. The one-to-a-part ensemble retains the music brisk and responsive, the strings typically able to tenderness and cordiality, the oboes including their very own quirks, be that sorrow and craving, or a trumpet-like boldness in Errico’s aforementioned bellicose aria. Above all, it’s Haydn’s wit and invention which come throughout on this opera, a major space of his output that’s given an all too rare airing right here, in contrast along with his instrumental and choral music.

Curtis Rogers