The Full Flavour

Artaxerxes, premiered in London in 1762, was the first full-length opera seria sung in English. It proved a great success and helped to revive the fortunes of Thomas Arne, whose career had been in the doldrums. The opera featured his new protégée and mistress Charlotte Brent in the role of Mandane and Arne lavished attention on her music. Mandane’s arias and those of the hero Arbaces provide many of the opera’s high points, with their rich orchestrations, virtuoso vocal parts and captivating tunes. Though based on the Handelian model, Artaxerxes shows both Arne’s talent at the later galant style and his penchant for folk-like, pastoral airs. The results are mostly a delight (if a tad lightweight for the libretto’s blood ’n’ thunder deeds), with a variety of attractive arias further enhanced by Arne’s deft use of woodwind. Christopher Robson in the title role and Catherine Bott, thrilling as Mandane, head a fine team of singers: my only complaint is that Patricia Spence’s forceful Arbaces too often slips into shrill and strident mode.

This programme reflects the full flavour and richness of English music and the instrumental and vocal repertory it inspired in Europe in the seventeenth and eighteenth centuries. The rhythmic impulse of this repertory – sometimes making use of ostinato – culminates in the grounds, jigs, contredanses and so on that were all the rage at the time and led to the publication of John Playford’s collection The English Dancing Master in 1651. Les Musiciens de Saint-Julien, showing their familiarity with early sources from England, Scotland and Ireland, also emphasise the melodic aspect of these dances, which in the course of time became sung airs – the soprano Fiona McGown and the baritone Enea Sorini complete a colourful instrumentarium.

This programme reflects the full flavour and richness of English music and the instrumental and vocal repertory it inspired in Europe in the seventeenth and eighteenth centuries. The rhythmic impulse of this repertory sometimes making use of ostinato culminates in the grounds, jigs, contredanses and so on that were all the rage at the time and led to the publication of John Playford's collection The English Dancing Master in 1651. Les Musiciens de Saint-Julien, showing their familiarity with early sources from England, Scotland and Ireland, also emphasise the melodic aspect of these dances, which in the course of time became sung airs the soprano Fiona McGown and the baritone Enea Sorini complete a colourful instrumentarium. Finally, the light-hearted dimension of entertainment is present everywhere in this repertory, which was popular in the sense that it was universally practised at the time, achieving a fame that spread far beyond the British Isles.

Riccardo Chailly - Royal Concertgebouw Orchestra - Live - The Radio Recordings (2004) {13CD Box Set Q Disc 97033}
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© 2004 Q Disc | 97033
Classical / Orchestral

In June this year (2004), Riccardo Chailly stepped down as music director of the Royal Concertgebouw Orchestra, to be succeeded by Mariss Jansons. Chailly's last appearances in Amsterdam exemplified his range as a conductor - there was a new production of Verdi's Don Carlo for Netherlands Opera, running in parallel with performances of Mahler's Ninth Symphony in the orchestra's home at the Concertgebouw itself.