It is always fascinating to encounter concert performances of works by composers whose mature or later pieces easily hold their sway in the core repertoire of the great opera houses worldwide. It gives a chance to see them trying out new concepts and developing their individual voices over time. Occasionally, the odd forgotten and unjustly neglected gem is rediscovered, sometimes recordings (for the completist collector often) can be generated and oftentimes the reasons for neglect become apparent. Chelsea Opera has long been a champion of such resuscitations alongside their presentations of more familiar works giving emerging artists a chance to show their talents. Their autumn presentation will be Verdi’s Macbeth – and with it they will celebrate their 75 years on London’s opera scene.
Bellini’s La Straniera was his 4th major work and was premiered at Milan’s La Scala in 1829 in the wake of the popularity of its predecessor work Il Pirata. After a few years of great success, it gradually lapsed into obscurity, until sopranos such as Renata Scotto and Montserrat Caballé started to explore its possibilities. Opera Rara gave it a concert outing in London some 18 years ago. This committed and often thrilling performance showed both the strengths and weaknesses of the opera. The development of the characters is more often through dramatic recitative rather than classic arias, duets, trios and ensembles that characterise Bellini’s masterpieces. Some characters (notably the role of Isoletta) make strong impact and then vanish from the action for a seeming eternity.
The plot is convoluted, occasionally stretching credibility; admittedly a charge could be levelled at many stronger works of course! Perhaps this concert best demonstrated how difficult it would be to create a staging that would meet the expectations of the modern-day audience. However, Bellini had clear scope to experiment with some set pieces of potential such as pre-nuptial celebrations, a hunt, an attempted murder by a lake, a trial and so forth and his solutions make intriguing listening. The long-arching melodies that were later to become such a feature of his style are beginning to emerge, as is the use of slower tempi to allow the singers of the day maximum opportunity to exhibit their vocal resplendence, technical ability and skill at inflecting the text.
There is some attractive woodwind writing, some interesting brass and percussive input and some well-built-up finales. Chelsea Opera’s orchestra rose to the occasion with customary application and aplomb under Stephen Barlow’s baton. Maybe some of his tempi were a little on the deliberate side, certainly the sheer volume of the players and immediacy of the sound threatened to engulf the soloists and chorus.
But what soloists! Soprano Helena Dix has become one of the company’s ‘resident’ stars and here her virtuosity, dynamic control, theatrical sense and vocal luxuriance were top notch. By any standards this was great Bel canto singing. She gave her all to the mysterious, imperious and contradictory Alaide. From her biography we read she is returning to Australia – let’s hope with fervour she can be tempted back for regular ‘working holidays’! The role of Arturo is that of an anti-hero. The character is a knight, engaged to one woman yet loves another, is jealous, hot-headed, ready to murder yet must be ardent and remain sympathetic. He never gets a full aria of his own either and yet has some fiendish music to sing. Thomas Elwin managed to strike an excellent dramatic balance here. His covered tone is warm, has an attractive baritone quality to it and has real ring at the top assuring the audience of their thrills. As the enigmatic Valdeburgo, Dan D’Souza revealed an expansive well-focussed bass, with a notably free high register. From a dramatic perspective, his early utterances seemed a little prosaic, making the character hard to fathom but, as the evening progressed, he certainly came into his own with his second-act aria stealing the limelight for a while. Georgia Mae Bishop’s velvety mezzo-soprano was a distinct asset in the somewhat thankless role of Isoletta. Her command at the start of the performance promises so much, but sadly the role has little dramatic development to assist the singer. Would she had had more to do! Messrs Diggle and Hopkinson made as much as was possible of their comprimario roles, alongside Kevin Hollands, promoted briefly from the chorus to sing the small role of Isoletta’s father. As ever the smallish chorus lent their voices enthusiastically; the men taking the lion’s share.
www.chelseaoperagroup.org.uk
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