1774 – A Retrospective
18 January 2024 – Wigmore Hall
The Mozartists’ pioneering MOZART 250 project continues with this fascinating exploration of the musical scene across Europe in 1774. The wide-ranging programme, including several works receiving their UK première, begins with a richly dynamic ‘Sturm und Drang’ symphony by Anton Zimmermann, and ends with an extended scene from Gluck’s Paris version of his celebrated setting of the Orpheus legend.
| Zimmermann | Symphony in E minor |
| Gluck | “Par un père cruel” from Iphigénie en Aulide |
| Gluck | “Jupiter, lance la foudre” from Iphigénie en Aulide |
| Anfossi | “Care pupile belle” from La finta giardiniera (UK première) |
| Salieri | “Sperar il caro porto” from La calamita de’ cuori (UK première) |
| Mozart | “Ergo interest… Quaere superna” K. 143 |
| Mysliveček | “Pace e calma in questo segno” from Artaserse (UK première) |
| Mozart | Symphony No. 29 in A, K. 201 |
| Gluck | Scene from Act 3 of Orphée et Euridice |
Chiara Skerath (soprano)
Alessandro Fisher (tenor)
The Mozartists
(leader, Matthew Truscott)
Ian Page conductor
Wigmore Hall
36 Wigmore Street
London
W1u 2BP
https://www.wigmore-hall.org.uk/
Programme
| Zimmermann | Symphony in E minor |
| Gluck | “Par un père cruel” from Iphigénie en Aulide |
| Gluck | “Jupiter, lance la foudre” from Iphigénie en Aulide |
| Anfossi | “Care pupile belle” from La finta giardiniera (UK première) |
| Salieri | “Sperar il caro porto” from La calamita de’ cuori (UK première) |
| Mozart | “Ergo interest… Quaere superna” K. 143 |
| Mysliveček | “Pace e calma in questo segno” from Artaserse (UK première) |
| Mozart | Symphony No. 29 in A, K. 201 |
| Gluck | Scene from Act 3 of Orphée et Euridice |
Artists
Chiara Skerath (soprano)
Alessandro Fisher (tenor)
The Mozartists
(leader, Matthew Truscott)
Ian Page conductor
Practical Information
Wigmore Hall
36 Wigmore Street
London
W1u 2BP
https://www.wigmore-hall.org.uk/
With special thanks to the Garrick Charitable Trust and Cockayne – Grants for the Arts, & the many other generous trusts and individuals who support our work.
“This is exactly the kind of mad thing that makes MOZART 250 so diverting: unearthing forgotten works… playing them often for the first time since the 18th century, and giving us a real feeling of the musical air Mozart was breathing.”
ROBERT THICKNESSE, OPERA NOW MAGAZINE