MOZART 250
The Mozartists’ MOZART 250 is an epic project which travels 250 years back in time to follow the chronological trajectory of Mozart’s life, works and influences. From January 2015, the 250th anniversary of Mozart’s childhood visit to London, during which he composed his first significant works, MOZART 250 follows Mozart’s journey, culminating in the year 2041, the 250th anniversary of his death.
“It is hard to think of a more valuable or ambitious long term musical project than Ian Page and Classical Opera’s MOZART 250.”
EARLY MUSIC REVIEW
N.B. We are in the process of creating a new MOZART 250 website which will be shared with the public when ready.
1773 (2023)
| 1773 — a retrospective 27 January 2023, 7.30pm — Wigmore Hall, London |
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| Soloists: Alexandra Lowe (soprano) | ||||||||||||||||||
| Arias for Rauzzini 19 September 2023, 7.30pm — Wigmore Hall, London |
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| Soloists: Rebecka Wallroth (mezzo-soprano) | ||||||||||||||||||
1773 (2023)
1773 — a retrospective
27 January 2023, 7.30pm — Wigmore Hall, London
| Mozart | Symphony No. 27 in G major, K.199 |
| Schweitzer | “Er ist gekommen… Zwischen Angst und zwischen Hoffen” from Alceste |
| C. P. E. Bach | Symphony in B minor, Wq.182, no.5 |
| Mysliveček | “Potea quel pianto” from La Passione di Nostro Signore Gesu Cristo |
| Haydn | “È la pompa un grand’imbroglio” from L’infideltà delusa |
| Symphony No. 51 in B flat major | |
| Mozart | “Exsultate, jubilate”, K.165 |
Soloists: Alexandra Lowe (soprano)
1772 (2022)
1772 — a retrospective
27 January 2022, 7.30pm — Cadogan Hall, London
| Mozart | Symphony No. 15 in G major, K.124 |
| Jomelli | “Barbari, ah! non ferite” from Cerere placata |
| Traetta | “Io resto sempre a piangere” from Antigona |
| Mozart | Epistle Sonatas in E flat major, K.67 and B flat major, K. 68 |
| J. C. Bach | “Se tiranni, oh Dei, non siete” from Endimione |
| Gassmann | “Quel nocchier che in gran procella” from La Betulia liberata |
| Mozart | “Ah, perché cercar degg’io” from Il sogno di Scipione |
| Haydn | Symphony No. 52 in C minor |
Soloists: Chiara Skerath (soprano)
Jessica Cale (soprano)
Haydn’s ‘Farewell’
15 March 2022, 7.30pm — Cadogan Hall, London
| Haydn | Symphony No. 47 in G major |
| Symphony No. 46 in B major | |
| Symphony No. 45 in F sharp minor, ‘Farewell’ |
Mozart in 1772
21 November 2022, 7.30pm — Cadogan Hall, London
| Mozart | Symphony No. 21 in A, K.134 |
| “Dalla sponda tenebrosa” from Lucio Silla | |
| Keyboard Concerto in D major, K.107/1 | |
| “In un istante… Parto, m’affretto” from Lucio Silla | |
| “Sposo… mia vita… Fra i pensier più funesi di morte” from Lucio Silla | |
| Symphony No. 20 in D, K.133 | |
| “Vanne. T’affretta… Ah se il crudel periglio” from Lucio Silla |
Soloist: Louise Alder (soprano)
Steven Devine (harpsichord)
1772 (2022)
1772 — a retrospective
27 January 2022, 7.30pm — Cadogan Hall, London
| Mozart | Symphony No. 15 in G major, K.124 |
| Jomelli | “Barbari, ah! non ferite” from Cerere placata |
| Traetta | “Io resto sempre a piangere” from Antigona |
| Mozart | Epistle Sonatas in E flat major, K.67 and B flat major, K. 68 |
| J. C. Bach | “Se tiranni, oh Dei, non siete” from Endimione |
| Gassmann | “Quel nocchier che in gran procella” from La Betulia liberata |
| Mozart | “Ah, perché cercar degg’io” from Il sogno di Scipione |
| Haydn | Symphony No. 52 in C minor |
Soloists: Chiara Skerath
Jessica Cale (soprano)
Haydn’s ‘Farewell’
15 March 2022, 7.30pm — Cadogan Hall, London
| Haydn | Symphony No. 47 in G major |
| Symphony No. 46 in B major | |
| Symphony No. 45 in F sharp minor, ‘Farewell’ |
Mozart in 1772
21 November 2022, 7.30pm — Cadogan Hall, London
| Mozart | Symphony No. 21 in A, K.134 |
| “Dalla sponda tenebrosa” from Lucio Silla | |
| Keyboard Concerto in D major, K.107/1 | |
| “In un istante… Parto, m’affretto” from Lucio Silla | |
| “Sposo… mia vita… Fra i pensier più funesi di morte” from Lucio Silla | |
| Symphony No. 20 in D, K.133 | |
| “Vanne. T’affretta… Ah se il crudel periglio” from Lucio Silla |
Soloist: Louise Alder (soprano)
Steven Devine (harpsichord)
1771 (2021)
Chamber Music Filming
26/27 April 2021 – St Giles’ Cripplegate
| Haydn | String Quartet in C minor, Op. 17, no. 4 |
| J. C. Bach | Harpsichord Concerto in E flat major, Op. 7, no. 5 |
| Haydn | Sonata in C minor Hob XVI:20 |
Soloists: Matthew Truscott,
Julia Kuhn (violins),
Max Mandel (viola),
Sarah McMahon (cello),
Steven Devine (harpsichord)
1771 — a retrospective
8 July 2021, 7.30pm — Cadogan Hall, London
| Mozart | Symphony in F major, K.75 |
| Mysliveček | “Non so se il mio peccato” from Adamo ed Eva |
| C. P. E. Bach | Harpsichord Concerto in C minor, Wq.43/4 |
| Salieri | “E non degg’io seguirla… Lungi da te, ben mio” from Armida |
| Haydn | Symphony No. 44 in E minor, ‘Trauer’ |
Soloists: Kitty Whately (mezzo-soprano)
Steven Devine (harpsichord)
1771 — Mozart’s perspective
22 November 2021, 7.30pm — Cadogan Hall, London
| Mozart | Symphony No. 12 in G, K.110/75b Concert aria, “Non curo l’affetto”, K.74b |
| Paisiello | “Onde amiche… Smarrita, tremante” from Annibale in Torino |
| Mozart | Symphony No. 13 in F major, K.112 “Ah, perchè cercar degg’io” (1st version) from Il sogno di Scipione |
| Hasse | “Non esser troppo altero” from Il Ruggiero |
| Mozart | “L’ombra de’ rami tuoi” from Ascanio in Alba, K.111 Symphony No. 14 in A major, K.114 |
Soloist: Emily Pogorelc (soprano)
1771 (2021)
Chamber Music Filming
26/27 April 2021 – St Giles’ Cripplegate
| Haydn | String Quartet in C minor, Op. 17, no. 4 |
| J. C. Bach | Harpsichord Concerto in E flat major, Op. 7, no. 5 |
| Haydn | Sonata in C minor Hob XVI:20 |
Soloists: Matthew Truscott,
Julia Kuhn (violins),
Max Mandel (viola),
Sarah McMahon (cello),
Steven Devine (harpsichord)
1771 — a retrospective
8 July 2021, 7.30pm — Cadogan Hall, London
| Mozart | Symphony in F major, K.75 |
| Mysliveček | “Non so se il mio peccato” from Adamo ed Eva |
| C. P. E. Bach | Harpsichord Concerto in C minor, Wq.43/4 |
| Salieri | “E non degg’io seguirla… Lungi da te, ben mio” from Armida |
| Haydn | Symphony No. 44 in E minor, ‘Trauer’ |
Soloists: Kitty Whately (mezzo-soprano)
Steven Devine (harpsichord)
1771 — Mozart’s perspective
22 November 2021, 7.30pm — Cadogan Hall, London
| Mozart | Symphony No. 12 in G, K.110/75b Concert aria, “Non curo l’affetto”, K.74b |
| Paisiello | “Onde amiche… Smarrita, tremante” from Annibale in Torino |
| Mozart | Symphony No. 13 in F major, K.112 “Ah, perchè cercar degg’io” (1st version) from Il sogno di Scipione |
| Hasse | “Non esser troppo altero” from Il Ruggiero |
| Mozart | “L’ombra de’ rami tuoi” from Ascanio in Alba, K.111 Symphony No. 14 in A major, K.114 |
Soloist: Emily Pogorelc (soprano)
1770 (2020)
Our survey of 1770 featured a retrospective concert exploring the year and a three-day mini-festival exploring Mozart’s time in Italy. A complete concert production of Mitridate, re di Ponto was scheduled to take place in November but was unable to go ahead due to the Covid-19 pandemic.
1770 — a retrospective
9 January 2020, 7.30pm — Wigmore Hall, London
Programme
| J.B. Vanhal | Symphony in E minor, e1 |
| C.W. Gluck | “O del mio dolce ardor” from Paride ed Elena |
| “Tutto qui mi sorprende… Le belle immagini” from Paride ed Elena | |
| F.J. Haydn | “Caro Volpino amabile” (2nd version) from Lo speziale |
| “Già si vede i vezzi e vanti” from Le pescatrici | |
| J.C. Bach | Duet, “Guardami in volto” from Gioas, re di Giuda |
| W.A. Mozart | “Lungi da te, mio bene” from Mitridate, re di Ponto |
| N. Jommelli | “Guardalo, è quell’istesso… Misero pargoletto” from Demofoonte |
| J.C. Bach | Symphony in G minor, Op. 6, no. 6 |
| W.A. Mozart | Duet, “Se viver non degg’io” from Mitridate, re di Ponto |
Soloists: Samantha Clarke (soprano)
Ida Ränzlöv (mezzo-soprano)
Mozart in Italy
6-8 March 2020 — Cadogan Hall
Programme
| Friday 6 March | |
| Talk: MOZART IN ITALY Cliff Eisen, Professor of Music History at King’s College London, presents an overview of Mozart’s 1770 tour of Italy. |
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| Concert 1: THE AUDITION | |
| W. A. Mozart | Symphony in D, K.100/62a |
| P. A. Guglielmi | Aria, “In un mar di tante pene” from Ruggiero SC |
| Aria, “Degna non è d’un soglio” from Ruggiero SJ | |
| Aria, “Ah, spiegar non posso” from Ruggiero RK | |
| Aria, “A morte, men vado” from Ruggiero RK | |
| Trio, “Ingrata mi sgridi” from Ruggiero SC,RK,SJ | |
| W. A. Mozart | Symphony No. 9 in C, K.73/75a |
| Aria, “Se tutti i mali miei”, K.83/73p SC | |
| Aria, “Ah, più tremar non voglio”, K.71 (fragment) SJ | |
| Aria, “Misero me… Misero pargoletto”, K.77/73e RK | |
Soloists: Samantha Clarke (soprano)
Rachel Kelly (mezzo-soprano)
Stuart Jackson (tenor)
| Saturday 7 March | |
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Illustrated Talk: MOZART AND ITALIAN SACRED MUSIC Chamber Choir of King’s College, London |
|
| G. Allegri | Miserere |
| W. A. Mozart | Puzzle canons from K.89 |
| Confitebor tibi Domine | |
| Thebana bella cantas | |
| G. B. Martini | Credo (excerpt) |
| W. A. Mozart | Quaerite primum Dominum Dei, K.86; |
| E. de Ligniville | Stabat Mater (excerpt) |
| W. A. Mozart | Miserere, K.85 |
| Panel Discussion: MOZART’S 1770 ITALIAN TOUR | |
| Writer and broadcaster James Jolly chairs a discussion with Cliff Eisen, Sergio Durante and Ian Page. | |
| Concert 2: THE ROAD TO ROME | |
| N. Piccinni | Aria, “Son Romano, e sono amante” from Cesare in Egitto |
| I. Celoniati | Duet, “Prendi l’estremo addio” from Didone abbandonata |
| Aria, “Se non odo dal mio bene” from Didone abbandonata SA | |
| W.A. Mozart | Symphony No. 10 in G major, K.74 |
| Aria, “Se ardire e speranza”, K.82/73o | |
| Aria, “Fra cento affanni e cento”, K.88/73c | |
| J. Mysliveček | Overture to La Nitteti |
| Aria, “Povero cor, tu palpiti” from La Nitteti | |
| Aria, “Se la cagion saprete” from La Nitteti | |
| W.A. Mozart | Contredanse in B flat major, K.123/73g |
| Minuet in E flat, K.122/73t | |
| Duet, “Se viver non degg’io” (original version) from Mitridate, re di Ponto | |
Soloists: Kiandra Howarth (soprano)
. Sarah Aristidou (soprano)
| Sunday 8 March | |
| Illustrated Talk: MOZART’S FIRST STRING QUARTET | |
| Sergio Durante (speaker) | |
| Concert 3: THE COMMISSION | |
| W.A. Mozart | Symphony (No. 44) in D major, K.81/73l |
| B.Galuppi | “Un pensier mi dice” from L’amante di tutti |
| N. Jommelli | Aria, “Misera me!… Ah! ti sento” from Armida abbandonata |
| Aria, “Fra l’orror di notte oscura” from Armida abbandonata | |
| Aria, “Misera Armida… Odio, furor, dispetto” from Armida abbandonata | |
| Q. Gasparini | Aria, “Se di lauri il crine adorno” from Mitridate, re di Ponto |
| W. A. Mozart | Aria, “Se di lauri il crine adorno” from Mitridate, re di Ponto |
| (1st version, completed by Stanley Sadie) | |
| Symphony in D major, K.84/73q | |
| Aria, “Se di lauri il crine adorno” from Mitridate, re di Ponto (final version) | |
| Q. Gasparini | Cavata, “Pallid’ ombre che scorgete” from Mitridate, re di Ponto |
| W. A. Mozart | Cavatina, “Pallid’ ombre che scorgete” from Mitridate, re di Ponto |
Soloists: Sarah Aristidou (soprano)
Kiandra Howarth (soprano)
. Stuart Jackson (tenor)
Mitridate, re di Ponto
26 November 2020 — Queen Elizabeth Hall, Southbank Centre (cancelled due to Covid-19)
It’s the 250th anniversary of the 14-year-old Mozart’s ambitious opera, Mitridate, re di Ponto. First heard at the Teatro Regio Ducale in Milan on 26 December 1770, the composition of this opera marked the end of Mozart’s first trip to Italy, as well as the first operatic success of a composer still a month short of his 15th birthday. The opera is based on Racine’s tragedy Mithridate, and with it the young Mozart displays stunning virtuosity, insight and beauty.
1770 (2020)
Our survey of 1770 featured a retrospective concert exploring the year and a three-day mini-festival exploring Mozart’s time in Italy. A complete concert production of Mitridate, re di Ponto was scheduled to take place in November but was unable to go ahead due to the Covid-19 pandemic.
1770 — a retrospective
9 January 2020, 7.30pm — Wigmore Hall, London
Programme
| J.B. Vanhal | Symphony in E minor, e1 |
| C.W. Gluck | “O del mio dolce ardor” from Paride ed Elena |
| “Tutto qui mi sorprende… Le belle immagini” from Paride ed Elena | |
| F.J. Haydn | “Caro Volpino amabile” (2nd version) from Lo speziale |
| “Già si vede i vezzi e vanti” from Le pescatrici | |
| J.C. Bach | Duet, “Guardami in volto” from Gioas, re di Giuda |
| W.A. Mozart | “Lungi da te, mio bene” from Mitridate, re di Ponto |
| N. Jommelli | “Guardalo, è quell’istesso… Misero pargoletto” from Demofoonte |
| J.C. Bach | Symphony in G minor, Op. 6, no. 6 |
| W.A. Mozart | Duet, “Se viver non degg’io” from Mitridate, re di Ponto |
Soloists:
Samantha Clarke (soprano)
Ida Ränzlöv (mezzo-soprano)
6-8 March 2020 — Cadogan Hall
Programme
| Friday 6 March | |
| Talk: MOZART IN ITALY Cliff Eisen, Professor of Music History at King’s College London, presents an overview of Mozart’s 1770 tour of Italy. |
|
| Concert 1: THE AUDITION | |
| W. A. Mozart | Symphony in D, K.100/62a |
| P. A. Guglielmi | Aria, “In un mar di tante pene” from Ruggiero SC |
| Aria, “Degna non è d’un soglio” from Ruggiero SJ | |
| Aria, “Ah, spiegar non posso” from Ruggiero RK | |
| Aria, “A morte, men vado” from Ruggiero RK | |
| Trio, “Ingrata mi sgridi” from Ruggiero SC,RK,SJ | |
| W. A. Mozart | Symphony No. 9 in C, K.73/75a |
| Aria, “Se tutti i mali miei”, K.83/73p SC | |
| Aria, “Ah, più tremar non voglio”, K.71 (fragment) SJ | |
| Aria, “Misero me… Misero pargoletto”, K.77/73e RK | |
Soloists:
Samantha Clarke (soprano)
Rachel Kelly (mezzo-soprano)
Stuart Jackson (tenor)
| Saturday 7 March | |
|
Illustrated Talk: MOZART AND ITALIAN SACRED MUSIC Chamber Choir of King’s College, London |
|
| G. Allegri | Miserere |
| W. A. Mozart | Puzzle canons from K.89 |
| Confitebor tibi Domine | |
| Thebana bella cantas | |
| G. B. Martini | Credo (excerpt) |
| W. A. Mozart | Quaerite primum Dominum Dei, K.86; |
| E. de Ligniville | Stabat Mater (excerpt) |
| W. A. Mozart | Miserere, K.85 |
| Panel Discussion: MOZART’S 1770 ITALIAN TOUR | |
| Writer and broadcaster James Jolly chairs a discussion with Cliff Eisen, Sergio Durante and Ian Page. | |
| Concert 2: THE ROAD TO ROME | |
| N. Piccinni | Aria, “Son Romano, e sono amante” from Cesare in Egitto |
| I. Celoniati | Duet, “Prendi l’estremo addio” from Didone abbandonata |
| Aria, “Se non odo dal mio bene” from Didone abbandonata SA | |
| W.A. Mozart | Symphony No. 10 in G major, K.74 |
| Aria, “Se ardire e speranza”, K.82/73o | |
| Aria, “Fra cento affanni e cento”, K.88/73c | |
| J. Mysliveček | Overture to La Nitteti |
| Aria, “Povero cor, tu palpiti” from La Nitteti | |
| Aria, “Se la cagion saprete” from La Nitteti | |
| W.A. Mozart | Contredanse in B flat major, K.123/73g |
| Minuet in E flat, K.122/73t | |
| Duet, “Se viver non degg’io” (original version) from Mitridate, re di Ponto | |
Soloists:
Kiandra Howarth (soprano)
Sarah Aristidou (soprano)
| Sunday 8 March | |
| Illustrated Talk: MOZART’S FIRST STRING QUARTET | |
| Sergio Durante (speaker) | |
| Concert 3: THE COMMISSION | |
| W.A. Mozart | Symphony (No. 44) in D major, K.81/73l |
| B.Galuppi | “Un pensier mi dice” from L’amante di tutti |
| N. Jommelli | Aria, “Misera me!… Ah! ti sento” from Armida abbandonata |
| Aria, “Fra l’orror di notte oscura” from Armida abbandonata | |
| Aria, “Misera Armida… Odio, furor, dispetto” from Armida abbandonata | |
| Q. Gasparini | Aria, “Se di lauri il crine adorno” from Mitridate, re di Ponto |
| W. A. Mozart | Aria, “Se di lauri il crine adorno” from Mitridate, re di Ponto |
| (1st version, completed by Stanley Sadie) | |
| Symphony in D major, K.84/73q | |
| Aria, “Se di lauri il crine adorno” from Mitridate, re di Ponto (final version) | |
| Q. Gasparini | Cavata, “Pallid’ ombre che scorgete” from Mitridate, re di Ponto |
| W. A. Mozart | Cavatina, “Pallid’ ombre che scorgete” from Mitridate, re di Ponto |
Soloists: Sarah Aristidou (soprano)
Kiandra Howarth (soprano)
. Stuart Jackson (tenor)
Mitridate, re di Ponto
26 November 2020 — Queen Elizabeth Hall, Southbank Centre (cancelled due to Covid-19)
It’s the 250th anniversary of the 14-year-old Mozart’s ambitious opera, Mitridate, re di Ponto. First heard at the Teatro Regio Ducale in Milan on 26 December 1770, the composition of this opera marked the end of Mozart’s first trip to Italy, as well as the first operatic success of a composer still a month short of his 15th birthday. The opera is based on Racine’s tragedy Mithridate, and with it the young Mozart displays stunning virtuosity, insight and beauty.
1769 (2019)
In 2019, we presented a wide-ranging survey of the musical year 1769, as well as a selection of fascinating operas from Hasse and Gluck, based on tales from Ovid’s Metamorphoses.
1769: A Year in Music
29 January 2019, 7.30pm – Queen Elizabeth Hall, Southbank Centre
Programme
| W. A. Mozart | Symphony from Cassation in G major, K.63 |
| T. A. Arne | Two airs from An Ode upon Dedicating a Building to Shakespeare |
| “Thou soft fl owing Avon” | |
| “Tho’ crimes from death and torture fl y” | |
| W. A. Mozart | “Cara, se le mie pene”, K.deest |
| G. Paisiello | “Venga pur” from Don Chisciotte della Mancia |
| F. J. Haydn | “Son vecchio, son furbo” from Le pescatrici |
| L. Mozart | Symphony in G major, ‘Neue Lambach’ – 1st movement |
| C. P. E. Bach | “Gott, sieh dein Volk” from Die Israeliten in der Wüste |
| C. W. Gluck | “Nochier che in mezzo all’onde” from Aristeo |
| F. J. Haydn | Symphony No. 48 in C major, ‘Maria Theresia’ |
Soloists: Chiara Skerath (soprano)
James Newby (baritone)
Hasse: Piramo e Tisbe
28 March 2019, 7.30pm – Cadogan Hall, London
A fascinating and highly unusual intermezzo based on a tragic tale from Ovid’s Metamorphoses. Composed in 1768 and revived in 1770, it was regarded by the composer as the best of his sixty-two operas, and it differs radically from his previous works, incorporating and developing many of Gluck’s operatic reforms in music of sumptuous lyricism and pathos.
Cast:
| Tisbe | Chiara Skerath (soprano) |
| Piramo | Kiandra Howarth (soprano) |
| Il padre | Gwilym Bowen (tenor) |
Gluck: Bauci e Filemone, Orfeo
29 & 31 May 2019, 7.30pm – Queen Elizabeth Hall, Southbank Centre
An enchanting pair of one-act Gluck operas based on stories recounted by Ovid — hailed by the BBC as “the world’s greatest story-teller” — in his celebrated Metamorphoses. Both originally formed part of Le feste d’Apollo, a triple bill composed for a royal wedding in Parma in August 1769.
Cast:
| Bauci e Filmeone (libretto by Giuseppe Maria Pagnini) | |
| Bauci | Rebecca Bottone (soprano) |
| Filemone | Lena Belkina (mezzo-soprano) |
| Giove | Gwilym Bowen (tenor) |
| La pastorella | Kiandra Howarth (soprano) |
| Orfeo (libretto by Ranieri de’ Calzabigi) | |
| Orfeo | Lena Belkina (mezzo-soprano) |
| Euridice | Kiandra Howarth (soprano) |
| Amore | Rebecca Bottone (soprano) |
| Actors | Luke Elliott |
| Nadi Kemp-Sayfi | |
| Dominyka Morkvėnaitė | |
1769 (2019)
In 2019, we presented a wide-ranging survey of the musical year 1769, as well as a selection of fascinating operas from Hasse and Gluck, based on tales from Ovid’s Metamorphoses.
1769: A Year in Music
29 January 2019, 7.30pm – Queen Elizabeth Hall, Southbank Centre
Programme
| W. A. Mozart | Symphony from Cassation in G major, K.63 |
| T. A. Arne | Two airs from An Ode upon Dedicating a Building to Shakespeare |
| “Thou soft fl owing Avon” | |
| “Tho’ crimes from death and torture fl y” | |
| W. A. Mozart | “Cara, se le mie pene”, K.deest |
| G. Paisiello | “Venga pur” from Don Chisciotte della Mancia |
| F. J. Haydn | “Son vecchio, son furbo” from Le pescatrici |
| L. Mozart | Symphony in G major, ‘Neue Lambach’ – 1st movement |
| C. P. E. Bach | “Gott, sieh dein Volk” from Die Israeliten in der Wüste |
| C. W. Gluck | “Nochier che in mezzo all’onde” from Aristeo |
| F. J. Haydn | Symphony No. 48 in C major, ‘Maria Theresia’ |
Soloists: Chiara Skerath (soprano)
James Newby (baritone)
Hasse: Piramo e Tisbe
28 March 2019, 7.30pm – Cadogan Hall, London
A fascinating and highly unusual intermezzo based on a tragic tale from Ovid’s Metamorphoses. Composed in 1768 and revived in 1770, it was regarded by the composer as the best of his sixty-two operas, and it differs radically from his previous works, incorporating and developing many of Gluck’s operatic reforms in music of sumptuous lyricism and pathos.
Cast:
| Tisbe | Chiara Skerath (soprano) |
| Piramo | Kiandra Howarth (soprano) |
| Il padre | Gwilym Bowen (tenor) |
Gluck: Bauci e Filemone, Orfeo
29 & 31 May 2019, 7.30pm – Queen Elizabeth Hall, Southbank Centre
An enchanting pair of one-act Gluck operas based on stories recounted by Ovid — hailed by the BBC as “the world’s greatest story-teller” — in his celebrated Metamorphoses. Both originally formed part of Le feste d’Apollo, a triple bill composed for a royal wedding in Parma in August 1769.
Cast:
| Bauci e Filmeone (libretto by Giuseppe Maria Pagnini) | |
| Bauci | Rebecca Bottone (soprano) |
| Filemone | Lena Belkina (mezzo-soprano) |
| Giove | Gwilym Bowen (tenor) |
| La pastorella | Kiandra Howarth (soprano) |
| Orfeo (libretto by Ranieri de’ Calzabigi) | |
| Orfeo | Lena Belkina (mezzo-soprano) |
| Euridice | Kiandra Howarth (soprano) |
| Amore | Rebecca Bottone (soprano) |
| Actors | Luke Elliott |
| Nadi Kemp-Sayfi | |
| Dominyka Morkvėnaitė | |
1768 (2018)
In 2018, we turned to historical documentation and scholarly research to inform a rich and varied programme of music from the year 1768, culminating in the modern première of the original version of Mozart’s Bastien und Bastienne.
1768 – a retrospective
23 January 2018, 7.30pm – Wigmore Hall, London
Programme
| F. J. Haydn | Symphony No. 26 in D minor, “Lamentatione” |
| N. Jommelli | “Ombre che tacite qui sede” from Fetonte |
| J. C. Bach | Flute Concerto in D major |
| F. J. Haydn | “Amore nel mio petto” and “Salamelica, Semprugna cara” from Lo speziale |
| W. A. Mozart | Sinfonia and “Amoretti, che ascosi qui siete” from La finta semplice, K.51 |
| J. A. Hasse | “Perderò l’amato bene” from Piramo e Tisbe |
| J. B. Vanhal | Symphony in D minor (d1) |
Soloists: Chiara Skerath (soprano)
. Katy Bircher (flute)
Haydn: Applausus
15 March 2018, 7.30pm – Cadogan Hall, London
This one-act cantata was commissioned as an act of homage to celebrate the fiftieth anniversary of Abbot Rainer Kollman of the Cistercian monastery in Zwettl taking his vows. Haydn composed the work in early 1768 but was unable to travel to Zwettl to supervise its performance; he therefore wrote a letter giving detailed instructions of how his music should be performed, and this document has survived, providing fascinating practical information and insights into eighteenth-century performance practice.
Cast:
| Temperantia | Ellie Laugharne (soprano) |
| Prudentia | Elspeth Marrow (mezzo-soprano) |
| Justitia | Thomas Elwin (tenor) |
| Fortitudo | John Savournin (bass-baritone) |
| Theologia | David Shipley (bass) |
Mozart: La finta semplice
2 June 2018, 7.30pm – Birmingham Town Hall
6 & 8 June 2018, 7.00pm – Queen Elizabeth Hall, Southbank Centre
Written when the composer was just twelve years old, the opera is based on a sparkling comedy by Carlo Goldoni, and combines situations of great comic invention and genuine humour with music of extrordinary beauty, energy and psychological insight.
Cast:
| Rosina, a Hungarian Baroness, sister of Fracasso | Regula Mühlemann (soprano) |
| Don Cassandro, a rich Cremonese landowner | Lukas Jakobski (bass) |
| Don Polidoro, his younger brother | Alessandro Fisher (tenor) |
| Giacinta, their sister | Sophie Rennert (mezzo-soprano) |
| Ninetta, their maid | Chiara Skerath (soprano) |
| Fracasso, a Hungarian captain | Thomas Elwin (tenor) |
| Simone, his sergeant | Božidar Smiljanić (bass) |
Mozart: Bastien und Bastienne
18 September 2018, 7.30pm – Wigmore Hall, London
The modern première of the original version of Mozart’s Bastien und Bastienne, based on research developed since the relatively recent rediscovery of Mozart’s autograph manuscript.
Programme
| F. J. Haydn | Symphony No. 49 in F minor, ‘La Passione’ |
| Anon. | Arias from Teutsche Comoedie Arien |
| “Wurstl mein Schaz’rl” | |
| “Verdopple deine Wuth” | |
| “Die Braut zu vergessen” | |
| “O du arme Welt” | |
| “Du könntest zwar vor allen” | |
| W. A. Mozart | Bastien und Bastienne, K.50 |
Soloists: Ellie Laugharne (soprano)
Alessandro Fisher (tenor)
Darren Jeffery (bass-baritone)
1768 (2018)
In 2018, we turned to historical documentation and scholarly research to inform a rich and varied programme of music from the year 1768, culminating in the modern première of the original version of Mozart’s Bastien und Bastienne.
1768 – a retrospective
23 January 2018, 7.30pm – Wigmore Hall, London
Programme
| F. J. Haydn | Symphony No. 26 in D minor, “Lamentatione” |
| N. Jommelli | “Ombre che tacite qui sede” from Fetonte |
| J. C. Bach | Flute Concerto in D major |
| F. J. Haydn | “Amore nel mio petto” and “Salamelica, Semprugna cara” from Lo speziale |
| W. A. Mozart | Sinfonia and “Amoretti, che ascosi qui siete” from La finta semplice, K.51 |
| J. A. Hasse | “Perderò l’amato bene” from Piramo e Tisbe |
| J. B. Vanhal | Symphony in D minor (d1) |
Soloists: Chiara Skerath (soprano)
. Katy Bircher (flute)
Haydn: Applausus
15 March 2018, 7.30pm – Cadogan Hall, London
This one-act cantata was commissioned as an act of homage to celebrate the fiftieth anniversary of Abbot Rainer Kollman of the Cistercian monastery in Zwettl taking his vows. Haydn composed the work in early 1768 but was unable to travel to Zwettl to supervise its performance; he therefore wrote a letter giving detailed instructions of how his music should be performed, and this document has survived, providing fascinating practical information and insights into eighteenth-century performance practice.
Cast:
| Temperantia | Ellie Laugharne (soprano) |
| Prudentia | Elspeth Marrow (mezzo-soprano) |
| Justitia | Thomas Elwin (tenor) |
| Fortitudo | John Savournin (bass-baritone) |
| Theologia | David Shipley (bass) |
Mozart: La finta semplice
2 June 2018, 7.30pm – Birmingham Town Hall
6 & 8 June 2018, 7.00pm – Queen Elizabeth Hall, Southbank Centre
Written when the composer was just twelve years old, the opera is based on a sparkling comedy by Carlo Goldoni, and combines situations of great comic invention and genuine humour with music of extrordinary beauty, energy and psychological insight.
Cast:
| Rosina, a Hungarian Baroness, sister of Fracasso | Regula Mühlemann (soprano) |
| Don Cassandro, a rich Cremonese landowner | Lukas Jakobski (bass) |
| Don Polidoro, his younger brother | Alessandro Fisher (tenor) |
| Giacinta, their sister | Sophie Rennert (mezzo-soprano) |
| Ninetta, their maid | Chiara Skerath (soprano) |
| Fracasso, a Hungarian captain | Thomas Elwin (tenor) |
| Simone, his sergeant | Božidar Smiljanić (bass) |
Mozart: Bastien und Bastienne
18 September 2018, 7.30pm – Wigmore Hall, London
The modern première of the original version of Mozart’s Bastien und Bastienne, based on research developed since the relatively recent rediscovery of Mozart’s autograph manuscript.
Programme
| F. J. Haydn | Symphony No. 49 in F minor, ‘La Passione’ |
| Anon. | Arias from Teutsche Comoedie Arien |
| “Wurstl mein Schaz’rl” | |
| “Verdopple deine Wuth” | |
| “Die Braut zu vergessen” | |
| “O du arme Welt” | |
| “Du könntest zwar vor allen” | |
| W. A. Mozart | Bastien und Bastienne, K.50 |
Soloists: Ellie Laugharne (soprano)
Alessandro Fisher (tenor)
Darren Jeffery (bass-baritone)
1767 (2017)
In 2017, we looked back to Mozart’s eleven-year-old self, with productions of his first two stage works, early keyboard sonatas, and a retrospective concert exploring his music alongside that of his contemporaries.
17 January 2017, 7.30pm – Wigmore Hall, London
Programme:
| W. A. Mozart | Symphony No. 6 in F major, K.43 |
| F. L. Gassmann | “Bella in un vago viso” from Amore e Psiche |
| C. W. Gluck | “No, crudel, non posso” from Alceste |
| J. C. Bach | “Sopra quel capo indegno” from Carattaco |
| K. F. Abel | “Frena le belle lagrime” from Sifari |
| W. A. Mozart | Grabmusik, K.42 |
| F. J. Haydn | “Vidit suum” and “Flammis orci” from Stabat Mater |
| T. Arne | Symphony in C major |
| W. A. Mozart | “Natus cadit” from Apollo et Hyacinthus, K.38 |
Soloists: Gemma Summerfield (soprano)
. Stuart Jackson (tenor)
.. Ashley Riches (bass-baritone)
21 March 2017, 7.30pm – St John’s Smith Square
A rare new production of Mozart’s first stage work, composed when he was just eleven years old. Mozart’s score represents the first part of a three-part sacred drama which was performed in Salzburg in 1767, but the two remaining parts are lost. The music is full of tender beauty, dynamism and descriptive flair, and the young composer’s innate understanding and sympathy for the human condition already shine through.
Cast:
| Christian | Alessandro Fisher (tenor) |
| Christian Spirit | Sam Furness (tenor) |
| Worldly Spirit | Rebecca Bottone (soprano) |
| Compassion | Gemma Summerfield (soprano) |
| Justice | Helen Sherman (mezzo-soprano) |
Kristian Bezuidenhout at Wigmore Hall
16 May 2017, 7.30pm – Wigmore Hall, London
Composed in the summer of 1767, these works were initially believed to be Mozart’s own compositions, but have since been identified as orchestrations of existing eighteenth-century sonatas. As such, they offer fascinating insights into the eleven-year-old Mozart’s development as a composer.
Programme:
| W. A. Mozart | Keyboard Concerto No. 1 in F major, K.37 |
| Licenza, “A Berenice… Sol nascente in questo giorno”, K.70 | |
| Keyboard Concerto No. 2 in B flat major, K.39 | |
| Keyboard Concerto No. 3 in D major, K.40 | |
| “Ein ergrimmter Löwe brüllet” from Die Schuldigkeit des ersten Gebots, K.35 | |
| Keyboard Concerto No. 4 in G major, K.41 |
Soloists: Kristian Bezuidenhout (harpsichord)
. .. Soraya Mafi (soprano)
Mozart: Apollo et Hyacinthus
12 & 13 June 2017, 7.30pm – St John’s Smith Square
A new production of Mozart’s delightful Apollo et Hyacinthus, the second of his two stage works from 1767. The opera was sung in Latin, and is based on a colourful story from Ovid’s Metamorphoses. Mozart was only eleven years old when he wrote this remarkable work, but the music is astonishingly accomplished, frequently anticipating the wonders of his maturity.
Programme:
| W. A. Mozart | Symphony in G major, K.45a, ‘Lambach’ |
| Grabmusik, K.42 (Sung in German with English surtitles) | |
| Apollo et Hyacinthus, K.38 (Sung in Latin with English surtitles) |
Cast:
| Grabmusik | |
| Der Engel | Gemma Summerfield (soprano) |
| Die Seele | Benjamin Appl (baritone) |
| Apollo et Hyacinthus | |
| Oebalus | Benjamin Hulett (tenor) |
| Melia | Klara Ek (soprano) |
| Apollo | Tim Mead (countertenor) |
| Zephyrus | James Hall (countertenor) |
| Hyacinthus | Gemma Summerfield (soprano) |
| Priest of Apollo | Benjamin Appl (baritone) |
1767 (2017)
In 2017, we looked back to Mozart’s eleven-year-old self, with productions of his first two stage works, early keyboard sonatas, and a retrospective concert exploring his music alongside that of his contemporaries.
17 January 2017, 7.30pm – Wigmore Hall, London
Programme:
| W. A. Mozart | Symphony No. 6 in F major, K.43 |
| F. L. Gassmann | “Bella in un vago viso” from Amore e Psiche |
| C. W. Gluck | “No, crudel, non posso” from Alceste |
| J. C. Bach | “Sopra quel capo indegno” from Carattaco |
| K. F. Abel | “Frena le belle lagrime” from Sifari |
| W. A. Mozart | Grabmusik, K.42 |
| F. J. Haydn | “Vidit suum” and “Flammis orci” from Stabat Mater |
| T. Arne | Symphony in C major |
| W. A. Mozart | “Natus cadit” from Apollo et Hyacinthus, K.38 |
Soloists:
Gemma Summerfield (soprano)
Stuart Jackson (tenor)
Ashley Riches (bass-baritone)
21 March 2017, 7.30pm – St John’s Smith Square
A rare new production of Mozart’s first stage work, composed when he was just eleven years old. Mozart’s score represents the first part of a three-part sacred drama which was performed in Salzburg in 1767, but the two remaining parts are lost. The music is full of tender beauty, dynamism and descriptive flair, and the young composer’s innate understanding and sympathy for the human condition already shine through.
Cast:
| Christian | Alessandro Fisher (tenor) |
| Christian Spirit | Sam Furness (tenor) |
| Worldly Spirit | Rebecca Bottone (soprano) |
| Compassion | Gemma Summerfield (soprano) |
| Justice | Helen Sherman (mezzo-soprano) |
Kristian Bezuidenhout at Wigmore Hall
16 May 2017, 7.30pm – Wigmore Hall, London
Composed in the summer of 1767, these works were initially believed to be Mozart’s own compositions, but have since been identified as orchestrations of existing eighteenth-century sonatas. As such, they offer fascinating insights into the eleven-year-old Mozart’s development as a composer.
Programme:
| W. A. Mozart | Keyboard Concerto No. 1 in F major, K.37 |
| Licenza, “A Berenice… Sol nascente in questo giorno”, K.70 | |
| Keyboard Concerto No. 2 in B flat major, K.39 | |
| Keyboard Concerto No. 3 in D major, K.40 | |
| “Ein ergrimmter Löwe brüllet” from Die Schuldigkeit des ersten Gebots, K.35 | |
| Keyboard Concerto No. 4 in G major, K.41 |
Soloists: Kristian Bezuidenhout (harpsichord)
. .. Soraya Mafi (soprano)
Mozart: Apollo et Hyacinthus
12 & 13 June 2017, 7.30pm – St John’s Smith Square
A new production of Mozart’s delightful Apollo et Hyacinthus, the second of his two stage works from 1767. The opera was sung in Latin, and is based on a colourful story from Ovid’s Metamorphoses. Mozart was only eleven years old when he wrote this remarkable work, but the music is astonishingly accomplished, frequently anticipating the wonders of his maturity.
Programme:
| W. A. Mozart | Symphony in G major, K.45a, ‘Lambach’ |
| Grabmusik, K.42 (Sung in German with English surtitles) | |
| Apollo et Hyacinthus, K.38 (Sung in Latin with English surtitles) |
Cast:
| Grabmusik | |
| Der Engel | Gemma Summerfield (soprano) |
| Die Seele | Benjamin Appl (baritone) |
| Apollo et Hyacinthus | |
| Oebalus | Benjamin Hulett (tenor) |
| Melia | Klara Ek (soprano) |
| Apollo | Tim Mead (countertenor) |
| Zephyrus | James Hall (countertenor) |
| Hyacinthus | Gemma Summerfield (soprano) |
| Priest of Apollo | Benjamin Appl (baritone) |
1766 (2016)
Following the triumphant launch of MOZART 250, we continued our unique traversal of the musical scene 250 years ago with a fascinating programme of works dating from 1766.
1766 – a retrospective
19 January 2016, 7.30pm – Wigmore Hall, London
Programme:
| W. A. Mozart | Symphony No. 5 in B flat major, K.22 |
| N. Jommelli | “De’ miei desiri ormai… Che farò” from Il Vologeso |
| W. A. Mozart | “Per pietà, bell’ idol mio”, K.78 |
| “O temerario Arbace… Per quel paterno amplesso”, K.79 | |
| J.B Vanhal | Symphony in G minor (g2) |
| F. J. Haydn | “Et incarnatus est” from Missa Cellensis in honorem BVM |
| P. A. Guglielmi | “Povera me!… Sento aimè, nè so che sia” from Lo spirito di contradizione |
| F. I. Beck | 1st movement from Symphony in D major, Op.4, no.1 |
| J. C. Bach | “Ah, why shou’d love with tyrant sway” |
| W. A. Mozart | “Or che il dover… Tali e cotanti sono”, K.36 |
| Symphony in G major, K.45a, ‘Lambach’ |
Soloists: Louise Alder (soprano)
. . Benjamin Hulett (tenor)
Jommelli: Il Vologeso
28 April 2016, 7.30pm – Cadogan Hall, London
The UK premiére of Niccolò Jommelli’s Il Vologeso, first performed 250 years ago on 11 February 1766 for the Stuttgart court in Ludwigsburg.
Cast:
| Vologeso, King of Parthia | Rachel Kelly (mezzo-soprano) |
| Berenice, Queen of Armenia, engaged to Vologeso | Gemma Summerfield (soprano) |
| Lucio Vero, joint Roman Emperor | Stuart Jackson (tenor) |
| Lucilla, Roman noblewoman, engaged to Lucio Vero | Angela Simkin (mezzo-soprano) |
| Flavio, a Roman ambassador | Jennifer France (soprano) |
| Aniceto, Lucio Vero’s attendant | Tom Verney (countertenor) |
La Canterina
8 September 2016, 7.30pm – Schloss Esterhazy, Eisenstadt, Austria
19 September 2016, 7.30pm – Wigmore Hall, London
This programme was formed of works written in 1766 by Haydn and Josef Mysliveček, known after his death as ‘the divine Bohemian’. Four dynamic arias from Mysliveček’s first opera were framed by two contrasting Haydn works – a superbly crafted symphony and a vivacious comedy about love, deception and singing lessons.
Programme:
| F. J. Haydn | Symphony No. 34 in D minor |
| J. Mysliveček | Arias from Semiramide |
| F. J. Haydn | La canterina |
Cast:
| Gasparina | Susanna Hurrell (soprano) |
| Apollonia | Rachel Kelly (mezzo-soprano) |
| Don Ettore | Kitty Whately (mezzo-soprano) |
| Don Pelagio | Robert Murray (tenor) |
1766 (2016)
Following the triumphant launch of MOZART 250, we continued our unique traversal of the musical scene 250 years ago with a fascinating programme of works dating from 1766.
1766 – a retrospective
19 January 2016, 7.30pm – Wigmore Hall, London
Programme:
| W. A. Mozart | Symphony No. 5 in B flat major, K.22 |
| N. Jommelli | “De’ miei desiri ormai… Che farò” from Il Vologeso |
| W. A. Mozart | “Per pietà, bell’ idol mio”, K.78 |
| “O temerario Arbace… Per quel paterno amplesso”, K.79 | |
| J.B Vanhal | Symphony in G minor (g2) |
| F. J. Haydn | “Et incarnatus est” from Missa Cellensis in honorem BVM |
| P. A. Guglielmi | “Povera me!… Sento aimè, nè so che sia” from Lo spirito di contradizione |
| F. I. Beck | 1st movement from Symphony in D major, Op.4, no.1 |
| J. C. Bach | “Ah, why shou’d love with tyrant sway” |
| W. A. Mozart | “Or che il dover… Tali e cotanti sono”, K.36 |
| Symphony in G major, K.45a, ‘Lambach’ |
Soloists: Louise Alder (soprano)
. . Benjamin Hulett (tenor)
Jommelli: Il Vologeso
28 April 2016, 7.30pm – Cadogan Hall, London
The UK premiére of Niccolò Jommelli’s Il Vologeso, first performed 250 years ago on 11 February 1766 for the Stuttgart court in Ludwigsburg.
Cast:
| Vologeso, King of Parthia | Rachel Kelly (mezzo-soprano) |
| Berenice, Queen of Armenia, engaged to Vologeso | Gemma Summerfield (soprano) |
| Lucio Vero, joint Roman Emperor | Stuart Jackson (tenor) |
| Lucilla, Roman noblewoman, engaged to Lucio Vero | Angela Simkin (mezzo-soprano) |
| Flavio, a Roman ambassador | Jennifer France (soprano) |
| Aniceto, Lucio Vero’s attendant | Tom Verney (countertenor) |
La Canterina
8 September 2016, 7.30pm – Schloss Esterhazy, Eisenstadt, Austria
19 September 2016, 7.30pm – Wigmore Hall, London
This programme was formed of works written in 1766 by Haydn and Josef Mysliveček, known after his death as ‘the divine Bohemian’. Four dynamic arias from Mysliveček’s first opera were framed by two contrasting Haydn works – a superbly crafted symphony and a vivacious comedy about love, deception and singing lessons.
Programme:
| F. J. Haydn | Symphony No. 34 in D minor |
| J. Mysliveček | Arias from Semiramide |
| F. J. Haydn | La canterina |
Cast:
| Gasparina | Susanna Hurrell (soprano) |
| Apollonia | Rachel Kelly (mezzo-soprano) |
| Don Ettore | Kitty Whately (mezzo-soprano) |
| Don Pelagio | Robert Murray (tenor) |
1765 (2015)
MOZART 250 launched in 2015 with the first ever in-depth retrospective of Mozart’s childhood visit to London, during which he wrote his first symphonies and arias.
1765 – a retrospective
22 January 2015, 7.30pm, Wigmore Hall, London
Mozart 250 began in 2015, the 250th anniversary of Mozart’s childhood sojourn in London, and launched with this fascinating retrospective of the year 1765. The programme featured music written in London, Paris, Vienna, Eisenstadt, Naples and The Hague, and included Mozart’s first symphony and concert arias.
Programme:
| W. A. Mozart | Symphony No. 1 in E flat major K.16 |
| Concert aria, “Va, dal furor portata”, K.21 | |
| C. W. Gluck | “In mezzo a un mar crudele” from Telemaco |
| J. C. Bach | “Cara, la dolce fiamma” from Adriano in Siria |
| F. D. Philidor | Scene from Act 3 of Tom Jones |
| C. W. Gluck | “Di questa cetra in seno” from Il Parnaso confuso |
| A. Sacchini | “Barbara figlia ingrata” from Creso |
| W. A. Mozart | Concert aria, “Conservati fedele”, K.23 |
| F. J. Haydn | Symphony No. 39 in G minor |
| J. C. Bach | Trio, “Ah, genitore amato” from Adriano in Siria |
Soloists: Anna Devin (soprano)
. .Sarah Fox (soprano)
. .John Mark Ainsley (tenor)
Mozart in London
Friday 20 to Sunday 22 February 2015, Milton Court, London.
Mozart arrived in London in April 1764 as a uniquely talented eight-year-old, and he and his family stayed for fifteen months. This weekend of events was the first major exploration of this important visit, and as well as all the key works that Mozart composed during the period it featured a vibrant cross-section of music that was being performed in London during his stay, some of which had not been heard since the eighteenth century.
Friday 20 February
Programme:
Talk: An introduction to Mozart’s London.
.Cliff Eisen (speaker)
Concert: Mozart’s London
| W.A. Mozart | Symphony No.1 in E flat major, K.16 |
| T. Arne | Four Airs from Judith: “Sleep, gentle Cherub! Sleep descend” |
| “Adorn’d with every matchless grace” | |
| “O torment great, too great to bear” | |
| “No more the heathen shall blaspheme” | |
| J.C. Bach | Harpsichord Concerto in D major, Op.1, No.6 |
| Three Songs sung at Ranelagh Gardens: | |
| G. F. Tenducci | “Indeed my dear, in vain you strive” |
| Anon. | “Patty of the Mill” |
| T. Arne | “Nymphs and Shepherds” |
| W.A. Mozart | Symphony No. 4 in D major, K.19 |
| T. Arne | Four Airs from Act 1 of Artaxerxes: |
| “Amid a thousand racking woes” | |
| “Behold on Lethe’s dismal strand” | |
| “O too lovely, too unkind” | |
| “Fly, soft ideas, fly” | |
Soloists: Anna Maria Labin (soprano)
.Helen Sherman (mezzo-soprano)
.Robert Murray (tenor)
.Steven Devine (harpsichord)
Saturday 21 February
Programme:
Discussion: Mozart in London
. Andrew McGregor, Cliff Eisen, Ian Page & David Vickers
Concert: Capricious Lovers: The English Opera in Mozart’s London
| George Rush | The Capricious Lovers |
| Overture (Allegro – Allegretto – Allegro) | |
| “Thus laugh’d at, jilted and betray’d” | |
| “How strange the mode which truth neglects” | |
| “If tyrant love with cruel dart” | |
| Trio, “For thee my love shall ever burn” | |
| Michael Arne & Jonathan Battishill | Almena |
| “Till thou seest the timid fawn” (Arne) | |
| “Would you taste of freedom’s charms” (Battishill) | |
| “The martial host and tented plain” (Battishill) | |
| William Bates | Pharnaces |
| “In this I fear my latest breath” | |
| “The spectre Death when view’d from far” | |
| Trio, “The gracious pow’rs with timely care” | |
| Thomas Arne | The Guardian Outwitted |
| Overture (Con spirito – Larghetto – Andantino ed amoroso) | |
| Duet, “O Dolly, I part with a hole in my heart” | |
| “When from beauty sweetly blooming” | |
| “O how great is the vexation” | |
| (pasticcio) | The Maid of the Mill |
| “To speak my mind” (Duni) | |
| “In love to pine” (the late Elector of Saxony) | |
| “Hist, hist! I hear my mother call!” (Arnold) | |
| Duet, “My life, my joy” (J.C. Bach) | |
| Thomas Arne | Artaxerxes |
| “If the river’s swelling waves” | |
| “By that belov’d embrace” | |
| “Monster, away!” | |
| “Thou like the glorious sun” |
Soloists: Rebecca Bottone (soprano)
.Sarah-Jane Brandon (soprano)
.Samantha Price (mezzo-soprano)
.Robert Murray (tenor)
Talk: A night at the Opera in Mozart’s London
. .David Snowman (speaker)
Concert: An Exotic and Irrational Entertainment: The Italian Opera in Mozart’s London
| (pasticcio) | Ezio |
| Vento | “Belle luci che accendete” |
| Pescetti | “Caro mio bene, addio” |
| (pasticcio) | Berenice |
| Vento | “Che pretendi, o ciel tiranno?” |
| J.C. Bach | “Confusa, smarrita” |
| J.C. Bach | Adriano in Siria |
| “Disperato in mar turbato” | |
| “Tutti nemici e rei” | |
| “Ah, come mi balza il cor… Deh, lascia, o ciel pietoso” | |
| Vento | Demofoonte |
| “Misero pargoletto” | |
| “Se tutti i mali miei” | |
| Duet, “Sposo, consorte… La destra ti chiedo” | |
| (pasticcio) | Solimano |
| Pescetti | “Se del caro mio germano” |
| Perez | “Se non ti moro a lato” |
Soloists: Anna Devin (soprano)
. Martene Grimson (soprano)
. Samantha Price (mezzo-soprano)
Sunday 22 February
Programme:
Concert: The Genesis of Genius: Mozart’s Chelsea Notebook
| 1. | 2. |
| [Allegro] in F, K.15a | A Contemporary Report on Mozart’s Genius |
| [Andantino] in C, K.15b | ‘Sonata Finale’(?) in F, K.15x |
| [Menuett] in G, K.15c | [Minuetto] in G, K.15y |
| [Rondeau] in D, K.15d | ‘Sonata Finale’(?) in B flat, K.15aa |
| [Contredanse] in G, K.15e | ‘Sonata Finale’(?) in D, K.15bb |
| [Tempo di Minuetto] in C, K.15f | ‘Sonata First movement’(?) in E flat, K.15cc |
| [Contredanse] in F, K.15h | |
| [Minuetto] in A (with Trio in A minor), K.15i/k | The “London Notebook” – which instrument? |
| [Contredanse] in A (with Trio in A minor), K.15l | [Minuetto] in E flat, K.15ee |
| [Minuetto] in F, K.15m | [Minuetto] in A flat, K.15ff |
| [Andante] in D, K.15o | [Rondeau] in F, K.15hh |
| Introducing Mozart’s “London Notebook” | ‘Sonata’(?) (or Sinfonia): |
| ‘Sonata’(?) (or Sinfonia): | . . . . . . . I: B flat, K.15ii |
| . . . . . . . I: G minor, K.15p | . . . . . . . II: E flat, K.15kk |
| . . . . . . . II: B flat, K.15q | . . . . . . . III: B flat, K.15ll |
| . . . . . . . III: G minor, K.15r | |
| ‘Sonata’(?) (or Sinfonia): | [Andante] in E flat, K.15mm |
| . . . . . . . I: F, K.15t | [Tempo di Minuetto] in F, K.15oo |
| . . . . . . . II: D minor, K.15u | [Minuetto] in B flat, K.15pp |
| . . . . . . . III: F, K.15v | [Minuetto] in E flat, K.15qq |
Soloists: John Irving (fortepiano)
Talk: Georgian London
.Lucy Inglis (speaker)
Concert: Bach, Abel and Mozart: London Concert Life in 1765
| J.C. Bach | Symphony in G major, Op.3, No.6 |
| W. A. Mozart | “Va, dal furor portata”, K.21 |
| J.C. Bach | “Cara, la dolce fiamma” from Adriano in Siria |
| C. F. Abel | Symphony in E flat, Op.7, No.6 |
| Overture to Love in a Village | |
| J.C. Bach | “Misera, che ascoltai… Più madre non sono” from Orione ED |
| “Non so d’onde viene” from Ezio BJ | |
| W. A. Mozart | Symphony in F major, K.19a |
Soloists: Eleanor Dennis (soprano)
.Ben Johnson (tenor)
J.C. Bach: Adriano in Siria
14, 16, 18 April 2015, 7.00pm, Britten Theatre, London
The première of Johann Christian Bach’s Adriano in Siria took place at the King’s Theatre, Haymarket on 26 January 1765, the eve of Mozart’s ninth birthday, and attracted such a large audience that scarcely a third of those assembled were able to get seats.
Cast:
| Adriano, Roman Emperor | Rowan Hellier (mezzo-soprano) |
| Osroa, King of the Parthians | Stuart Jackson (tenor) |
| Emirena, daughter of Osroa, in love with Farnaspe | Ellie Laugharne (soprano) |
| Farnaspe, a Syrian prince, in love with Emirena | Erica Eloff (soprano) |
| Sabina, a Roman noblewoman, engaged to Adriano | Filipa van Eck (soprano) |
| Aquilio, a Roman tribune, in love with Sabina | Nick Pritchard (tenor) |
| Adriano’s attendant | Daniel Swan |
| Sabina’s lady-in-waiting | Lauren Okadigbo |
| Emirena’s lady-in-waiting | Lotte Tickner |
| Soldiers, Parthians, puppeteers, scene changers | Leiran Gibson, Victoria Haynes, Lauren Okadigbo, Sandro Piccirilli, Lotte Tickner |
1765 (2015)
MOZART 250 launched in 2015 with the first ever in-depth retrospective of Mozart’s childhood visit to London, during which he wrote his first symphonies and arias.
1765 – a retrospective
22 January 2015, 7.30pm, Wigmore Hall, London
Mozart 250 began in 2015, the 250th anniversary of Mozart’s childhood sojourn in London, and launched with this fascinating retrospective of the year 1765. The programme featured music written in London, Paris, Vienna, Eisenstadt, Naples and The Hague, and included Mozart’s first symphony and concert arias.
Programme:
| W. A. Mozart | Symphony No. 1 in E flat major K.16 |
| Concert aria, “Va, dal furor portata”, K.21 | |
| C. W. Gluck | “In mezzo a un mar crudele” from Telemaco |
| J. C. Bach | “Cara, la dolce fiamma” from Adriano in Siria |
| F. D. Philidor | Scene from Act 3 of Tom Jones |
| C. W. Gluck | “Di questa cetra in seno” from Il Parnaso confuso |
| A. Sacchini | “Barbara figlia ingrata” from Creso |
| W. A. Mozart | Concert aria, “Conservati fedele”, K.23 |
| F. J. Haydn | Symphony No. 39 in G minor |
| J. C. Bach | Trio, “Ah, genitore amato” from Adriano in Siria |
Soloists: Anna Devin (soprano)
. .Sarah Fox (soprano)
. .John Mark Ainsley (tenor)
Mozart in London
Friday 20 to Sunday 22 February 2015, Milton Court, London.
Mozart arrived in London in April 1764 as a uniquely talented eight-year-old, and he and his family stayed for fifteen months. This weekend of events was the first major exploration of this important visit, and as well as all the key works that Mozart composed during the period it featured a vibrant cross-section of music that was being performed in London during his stay, some of which had not been heard since the eighteenth century.
Friday 20 February
Programme:
Talk: An introduction to Mozart’s London.
.Cliff Eisen (speaker)
Concert: Mozart’s London
| W.A. Mozart | Symphony No.1 in E flat major, K.16 |
| T. Arne | Four Airs from Judith: “Sleep, gentle Cherub! Sleep descend” |
| “Adorn’d with every matchless grace” | |
| “O torment great, too great to bear” | |
| “No more the heathen shall blaspheme” | |
| J.C. Bach | Harpsichord Concerto in D major, Op.1, No.6 |
| Three Songs sung at Ranelagh Gardens: | |
| G. F. Tenducci | “Indeed my dear, in vain you strive” |
| Anon. | “Patty of the Mill” |
| T. Arne | “Nymphs and Shepherds” |
| W.A. Mozart | Symphony No. 4 in D major, K.19 |
| T. Arne | Four Airs from Act 1 of Artaxerxes: |
| “Amid a thousand racking woes” | |
| “Behold on Lethe’s dismal strand” | |
| “O too lovely, too unkind” | |
| “Fly, soft ideas, fly” | |
Soloists: Anna Maria Labin (soprano)
.Helen Sherman (mezzo-soprano)
.Robert Murray (tenor)
.Steven Devine (harpsichord)
Saturday 21 February
Programme:
Discussion: Mozart in London
. Andrew McGregor, Cliff Eisen, Ian Page & David Vickers
Concert: Capricious Lovers: The English Opera in Mozart’s London
| George Rush | The Capricious Lovers |
| Overture (Allegro – Allegretto – Allegro) | |
| “Thus laugh’d at, jilted and betray’d” | |
| “How strange the mode which truth neglects” | |
| “If tyrant love with cruel dart” | |
| Trio, “For thee my love shall ever burn” | |
| Michael Arne & Jonathan Battishill | Almena |
| “Till thou seest the timid fawn” (Arne) | |
| “Would you taste of freedom’s charms” (Battishill) | |
| “The martial host and tented plain” (Battishill) | |
| William Bates | Pharnaces |
| “In this I fear my latest breath” | |
| “The spectre Death when view’d from far” | |
| Trio, “The gracious pow’rs with timely care” | |
| Thomas Arne | The Guardian Outwitted |
| Overture (Con spirito – Larghetto – Andantino ed amoroso) | |
| Duet, “O Dolly, I part with a hole in my heart” | |
| “When from beauty sweetly blooming” | |
| “O how great is the vexation” | |
| (pasticcio) | The Maid of the Mill |
| “To speak my mind” (Duni) | |
| “In love to pine” (the late Elector of Saxony) | |
| “Hist, hist! I hear my mother call!” (Arnold) | |
| Duet, “My life, my joy” (J.C. Bach) | |
| Thomas Arne | Artaxerxes |
| “If the river’s swelling waves” | |
| “By that belov’d embrace” | |
| “Monster, away!” | |
| “Thou like the glorious sun” |
Soloists: Rebecca Bottone (soprano)
.Sarah-Jane Brandon (soprano)
.Samantha Price (mezzo-soprano)
.Robert Murray (tenor)
Talk: A night at the Opera in Mozart’s London
. .David Snowman (speaker)
Concert: An Exotic and Irrational Entertainment: The Italian Opera in Mozart’s London
| (pasticcio) | Ezio |
| Vento | “Belle luci che accendete” |
| Pescetti | “Caro mio bene, addio” |
| (pasticcio) | Berenice |
| Vento | “Che pretendi, o ciel tiranno?” |
| J.C. Bach | “Confusa, smarrita” |
| J.C. Bach | Adriano in Siria |
| “Disperato in mar turbato” | |
| “Tutti nemici e rei” | |
| “Ah, come mi balza il cor… Deh, lascia, o ciel pietoso” | |
| Vento | Demofoonte |
| “Misero pargoletto” | |
| “Se tutti i mali miei” | |
| Duet, “Sposo, consorte… La destra ti chiedo” | |
| (pasticcio) | Solimano |
| Pescetti | “Se del caro mio germano” |
| Perez | “Se non ti moro a lato” |
Soloists: Anna Devin (soprano)
. Martene Grimson (soprano)
. Samantha Price (mezzo-soprano)
Sunday 22 February
Programme:
Concert: The Genesis of Genius: Mozart’s Chelsea Notebook
| 1. | 2. |
| [Allegro] in F, K.15a | A Contemporary Report on Mozart’s Genius |
| [Andantino] in C, K.15b | ‘Sonata Finale’(?) in F, K.15x |
| [Menuett] in G, K.15c | [Minuetto] in G, K.15y |
| [Rondeau] in D, K.15d | ‘Sonata Finale’(?) in B flat, K.15aa |
| [Contredanse] in G, K.15e | ‘Sonata Finale’(?) in D, K.15bb |
| [Tempo di Minuetto] in C, K.15f | ‘Sonata First movement’(?) in E flat, K.15cc |
| [Contredanse] in F, K.15h | |
| [Minuetto] in A (with Trio in A minor), K.15i/k | The “London Notebook” – which instrument? |
| [Contredanse] in A (with Trio in A minor), K.15l | [Minuetto] in E flat, K.15ee |
| [Minuetto] in F, K.15m | [Minuetto] in A flat, K.15ff |
| [Andante] in D, K.15o | [Rondeau] in F, K.15hh |
| Introducing Mozart’s “London Notebook” | ‘Sonata’(?) (or Sinfonia): |
| ‘Sonata’(?) (or Sinfonia): | . . . . . . . I: B flat, K.15ii |
| . . . . . . . I: G minor, K.15p | . . . . . . . II: E flat, K.15kk |
| . . . . . . . II: B flat, K.15q | . . . . . . . III: B flat, K.15ll |
| . . . . . . . III: G minor, K.15r | |
| ‘Sonata’(?) (or Sinfonia): | [Andante] in E flat, K.15mm |
| . . . . . . . I: F, K.15t | [Tempo di Minuetto] in F, K.15oo |
| . . . . . . . II: D minor, K.15u | [Minuetto] in B flat, K.15pp |
| . . . . . . . III: F, K.15v | [Minuetto] in E flat, K.15qq |
Soloists: John Irving (fortepiano)
Talk: Georgian London
.Lucy Inglis (speaker)
Concert: Bach, Abel and Mozart: London Concert Life in 1765
| J.C. Bach | Symphony in G major, Op.3, No.6 |
| W. A. Mozart | “Va, dal furor portata”, K.21 |
| J.C. Bach | “Cara, la dolce fiamma” from Adriano in Siria |
| C. F. Abel | Symphony in E flat, Op.7, No.6 |
| Overture to Love in a Village | |
| J.C. Bach | “Misera, che ascoltai… Più madre non sono” from Orione ED |
| “Non so d’onde viene” from Ezio BJ | |
| W. A. Mozart | Symphony in F major, K.19a |
Soloists: Eleanor Dennis (soprano)
.Ben Johnson (tenor)
J.C. Bach: Adriano in Siria
14, 16, 18 April 2015, 7.00pm, Britten Theatre, London
The première of Johann Christian Bach’s Adriano in Siria took place at the King’s Theatre, Haymarket on 26 January 1765, the eve of Mozart’s ninth birthday, and attracted such a large audience that scarcely a third of those assembled were able to get seats.
Cast:
| Adriano, Roman Emperor | Rowan Hellier (mezzo-soprano) |
| Osroa, King of the Parthians | Stuart Jackson (tenor) |
| Emirena, daughter of Osroa, in love with Farnaspe | Ellie Laugharne (soprano) |
| Farnaspe, a Syrian prince, in love with Emirena | Erica Eloff (soprano) |
| Sabina, a Roman noblewoman, engaged to Adriano | Filipa van Eck (soprano) |
| Aquilio, a Roman tribune, in love with Sabina | Nick Pritchard (tenor) |
| Adriano’s attendant | Daniel Swan |
| Sabina’s lady-in-waiting | Lauren Okadigbo |
| Emirena’s lady-in-waiting | Lotte Tickner |
| Soldiers, Parthians, puppeteers, scene changers | Leiran Gibson, Victoria Haynes, Lauren Okadigbo, Sandro Piccirilli, Lotte Tickner |