MOZART 250

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 — 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)

 

 

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)

 

 

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)

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.
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 Cliff Eisen (speaker) Chamber Choir of King’s College, London Edward Jones (conductor)
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.

 

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.
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 Cliff Eisen (speaker) Chamber Choir of King’s College, London Edward Jones (conductor)
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.

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

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

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)

 

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)

 

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.

1767 – a retrospective

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.

1767 – a retrospective

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

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

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.

 

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.