On hearing The Royal Irish Academy of Music were presenting La Finta Giardiniera (The Secret Gardener) as their student production this year I had no intention of turning down an opportunity to see Mozart performed in Dublin. The RIAM has been presenting student operas for over ten years now and they have developed into a terrific performance platform for emerging singers and musicians. Having seen their very impressive production of Henry Purcell’s The Fairy Queen last year I had an inkling this could be another treat. A lesser known work by Mozart and written when he was only eighteen years old La Finta Giardiniera displays astonishing maturity and complexity in both music and theme but like many operas, it suffers from a somewhat convoluted libretto.

Vladimir Sima as Il Podestà (The Mayor) keeps the feuding Nardo and Serpetta apart played by Dylan Rooney and Ecaterina Tulgara. Photo by Colm Hogan

The set which was designed in collaboration with students from IADT Dun Laoghaire was quite sparse for the most part consisting of a garden space surrounded by a low hedge with various chairs and tables moved around as needed. This arrangement along with the rather subtle costumes worked well and tied in with the garden theme but also aided the regularly large number of performers on stage involved in a lot of activity and dancing in various scenes. Those who were not on stage for particular scenes sat on benches either side of the stage visible to the audience which I found an intriguing dramatic touch blurring the theatrical space as you saw the cast step into and out of character. Being quite a small theatre the placing of the RIAM Opera Orchestra which was conducted by Andrew Synnott from the harpsichord behind the stage brought the action closer to the audience and created a more theatrical experience.

What worked less well were the projections above the stage of graffiti-styled love hearts and slogans. The intention was to provide cues to the evolving drama but I found them distracting and their rather urban and neon quality jarred with the more bucolic escapades unfolding below. Above them again were the surtitles which required continual looking up quite far from the stage to follow the story although it was a credit to the acting skills of the cast that the plot wasn’t too difficult to decipher.

Arminda played by Corina Ignat reminds Count Belfiore played by James McCreanor what their future marital bliss will be like. Photo by Colm Hogan

Essentially the tale of a succession of mismatched passions and disguised encounters this opera is brim full of delightful arias and uplifting ensembles which made it an ideal choice for a student production. The spotlight was quite democratic as the distribution of arias allowed each of the seven leading cast member numerous opportunities to shine. These arias, some comic and jovial others reflective and sorrowful demanded significant mood changes which the cast handled with confidence and professionalism. They were not found wanting in their acting skills either in what was quite an energetic production which required buffa vignettes to quickly change to more sombre and reflective musings. All of this colour was excellently choreographed, especially in Act III as a rather chaotic banquet scene unfolded.

In what promises to be a very exciting year for Irish opera this was an early taster of the depth of operatic talent we have in Ireland to encourage and celebrate.

Pics, cast and other details about this production are here

The Royal Irish Academy of Music is here

IADT Dun Laoghaire Design for Stage & Screen Course is here

The term Baroque can be new to many music lovers. When I told a friend I was going to this festival she quizzically asked ‘the Ardee rock festival’? An understandable mistake. As the predominant musical style of the 17th century Baroque music can have a flamboyant and often decorative style which reflects the aesthetics of the time. Think Handel’s Messiah or Vivaldi’s Four Seasons and you’re on the canvas.

Now in it’s 14th year the Ardee Baroque Festival has garnered quite a local following in the North East becoming what the Irish Times called ‘a music festival that could hold it’s head up anywhere’. Although having a programme of events over a full weekend which included concerts, poetry, youth engagement & education the headline performance was at the historic St. Mary’s Abbey. We gathered in this beautifully maintained church to welcome the festival’s anchor ensemble and perennial favourites the Irish Baroque Orchestra under the direction of Claire Duff who were joined by soprano Sinéad Campbell-Wallace for a concert of instrumental and vocal pieces heavily weighted towards Handel although Corelli and Telemann did make guest appearances.

The Irish Baroque Orchestra.

Opening appropriately enough with Corelli’s Christmas Concerto, the slow introduction of the first movement quickly gave way to a full baroque soundscape of strings, harpsichord and the vigorous bass which underpins this seasonal masterpiece. The mood well and truly set, soprano Sinéad Campbell-Wallace then introduced us to the operatic genius of Handel with the slowly rhythmic and aching Ah, Mio Cor from Alcina and Son Contenta Di Morire, an aria which Sinéad is familiar with following her tour playing Zenubia in Opera Northern Ireland’s recent production of Radamisto. A pacey and wonderfully decorative piece of vocal acrobatics which she reprised with aplomb and which displayed the development of Sinéad’s voice to incorporate deeper mezzo roles.

Soprano Sinéad Campbell-Wallace.

The evening continued with a Telemann Concerto which had the added treat of Miriam Kaczor, a graduate of the Royal Irish Academy of Music taking the lead on baroque flute. Not an instrument you immediately associate with the Baroque style, the delicacy of the flute was beautifully supported by the subtle playing of the string ensemble.

After a brief intermission it was Handle all the way with a selection from the ever popular Messiah. If God Be For Us lulled us with it’s lush harmonies before Sinéad gifted us another coloratura spectacular with Rejoice Greatly lifting our spirits on a very cold and damp evening. After another Concerto Grosso we returned again to the operatic stage for the urgent and rather intense Ma Quando Tourerai also from Alcina before finally being treated to Lascia Ch’io Pianga from Rinaldo, a beautiful and emotionally intense aria which enjoys huge popularity.

The wonderfully atmospheric St. Mary’s Abbey, Ardee.

There is currently a lot of renewed interest in Baroque and indeed early music in general. You only need look at the success of smaller festivals like Ardee Baroque Festival and East Cork Early Music Festival right up to the large scale revivals of early operas. Of course there really is no substitute for the live experience of accomplished performers, often playing period instruments, to bring the enduring beauty of this music to life.

http://ardeebaroque.com/

http://www.irishbaroqueorchestra.com/

http://sineadcampbellwallace.com/