Celebrated in his time and recognized by subsequent generations for his role in developing the symphony and the string quartet, as well as for his influence on Mozart and Beethoven, Josef Haydn is less known for his operas, even though he has written more than ten.
Conductor Ashiq Aziz, founder of the Classical Music Consort orchestra and known for his enthusiasm for 18th century music, admits he hadn’t heard La Fedelta Premiata before being introduced to it by Opera in Concert director Guillermo Silva-Marin. In fact, until listening to it, he had some doubts about the quality of Haydn’s operas.
“This opera is actually quite exquisite and it’s completely destroyed any negative misconceptions I had about the piece. It’s so dramatically interesting and enthralling. Most of the music is really exquisitely written; it’s beautiful for the voice,” said Ariz.
Yet following Haydn’s death, the opera disappeared from the stage, not resurfacing until the late 20th century. Appearances have been rare since.
“Its neglect is incomprehensible, perhaps as a result of ‘out of sight, out of mind’ syndrome,” said Silva-Marin who brought to life another Haydn opera, Il Mondo della Luna, in 2009 on the 200th anniversary of Haydn’s death.Aziz believes the neglect of Haydn’s operas may be connected to Mozart’s popularity.
“He has competition from Mozart and Mozart is the ultimate opera composer from the 18th century, and Mozart’s operas reign supreme in opera houses all over the world, so Haydn has less of a chance because Mozart’s operas are so well known and loved universally,” he said.
Breaking the Spell
“The opera is quintessential classic in its use of Greek mythology, in this case the goddess Diana and the foibles of shepherds, satyrs, and aristocrats—all searching for balance, clarity, and simplicity in life,” explains Silva-Marin.
Angered by an act of treachery, the goddess Diana condemns two lovers in the Greek city of Cumae to be sacrificed each year to a lake monster. Only the sacrifice of a faithful lover can break the spell. One such couple appears—Celia and Fileno. Yet their loyalty is not only tested by the sea monster, but perhaps even more so by the jealous intrigues surrounding them.
“It’s about whether the couple can remain faithful to each other during these turbulent times and as the title suggests, ‘La Fedelta Premiata’ which translates loosely as fidelity rewarded, they are rewarded in the end when the gods intercede on their behalf to prevent them from being thrown to the monster. And then they get to marry each other,” Aziz said.
For Aziz, working on the opera, which is being presented as a concert performance, has been a treat.
“The music itself and the opera itself is a comic opera. There are moments of discomfort or despondency or suffering, but just the lightness of the music and how well responsive their voices are to the music, it makes a real joy.”
Youthful Vigour
An orchestral conductor, Aziz feels a particularly strong connection to the voice. He has found working with the young enthusiastic cast to be the most rewarding experience.“It’s a sort of sparkle in these singers’ eyes because it can be the first time that these singers have performed this music or have gotten to know it. It’s a real learning process for everybody and I really enjoy that.”
Aziz is known for his passion for reviving baroque and classical music. Last May, the young conductor and harpsichordist launched the Handel festival in Toronto. His philosophy is to “not just perform these pieces as thought they are museum pieces, but also bring our 21st century perspective as well.”
Aziz noted the singers’ dedication to bringing out the beauty of the music and creating an enjoyable experience for the audience.
“I think that’s so clear in their work in their rehearsing, in their studying, and I think that is really going to be palpable from the audience perspective.”For more information, visit Operainconcert.com.
