Philemon and Baucis
Gluck
Information
Philemon and Baucis
The Deanery garden, Bampton: 22, 23 July 2016
Westonbirt Orangery: 29 August 2016
St John's Smith Square: 13 September 2016
Cast
Philemon | Catherine Backhouse |
Baucis | Barbara Cole Walton |
Jupiter | Christopher Turner |
A shepherdess | Aoife O'Sullivan |
Robert Anthony Gardiner | |
Robert Gildon |
The Orchestra of Bampton Classical Opera (Bampton, Westonbirt)
CHROMA (London)
Repetiteur | Harry Sever |
Movement director | Triona Adams |
Conductor | Paul Wingfield |
Director | Jeremy Gray |
Synopsis
Philemon and Baucis lead a simple and contented pastoral life in the land of Phrygia, utterly devoted to each other and eagerly anticipating their marriage. It is typical of their good nature that they show unconditional hospitality to an unkempt stranger who arrives from Crete, angry at the rude treatment he has received elsewhere in the community. Their charity is opportune, since the stranger soon reveals himself to be the god Jupiter. He blesses their marriage and conjures up a temple. His simmering resentment nevertheless boils over and petulantly he whips up a devastating storm. Philemon and Baucis pray for the safety of all, and Jupiter is appeased. He promises a long and tranquil life to the couple as guardians of his temple and as models of virtue for the good of all.
Synopsis in detail
The mood of the Overture moves quickly from calm relaxation to energetic vitality and suggests the drama ahead. A lyrical Andante Duet, with warbling flute, introduces the simple pastoral contentment of Baucis and her beloved Philemon: See, my love, how well it pleases: sweetest music, gentle breezes. Their flirting is rudely interrupted by a scruffy stranger, who is angry at the lack of civility shown to him since his recent arrival in Phrygia: These miserable people have no understanding of their obligations as human beings. Philemon and Baucis are quick to show him their characteristic generosity and Jupiter’s bluster and anger subside. In a lilting Aria accompanied by strings, Philemon returns to his favourite pastime, the praise of his sweetheart, acknowledging the divine blessings they receive as a couple: This flame of my affection surges before your beauty. The stranger offers Baucis an enchanted ‘gift of music’, and Philemon leads him away to recover from the rigours of his journey.
Baucis muses on the stranger’s generosity, and wants to offer thanks to Jupiter, but her prayer is quickly transformed into a passionate hymn to her lover: her brilliant Aria, You are my shepherd and lover – your name, your mien astound me is richly accompanied by oboes and horns, and her amorous excitement is expressed in a coloratura line of ever-rising pitch and elaboration. The couple’s love is celebrated in an elegant Chorus and Dance accompanied by pizzicato strings: The faithful love of the fairest of creatures inspires and teaches us how to be one.
Contented with the goodwill of the community, the couple prepare to leave for their wedding, but the stranger suddenly returns and reveals himself as Jupiter. He reassures them of his favour and promises to create a new temple: he himself will be the priest for their wedding. In a surprisingly Anglican-sounding Chorus Love divine, all loves excelling everyone wisely implores Jupiter to remain with them for ever.
Bassoons and lower strings lend a particular colour to Jupiter’s reassuring Aria: My affection and godly devotion will require no ritual treasure. Philemon and Baucis are overwhelmed by such divine favour and in a serene canonic Duet With this ring I pledge before you, with my body I thee cherish, they are married; the music rises in excitement and runs into a short Chorus: Celebration and elation, there’s no happier couple now.
But Jupiter now spoils the party: his resentment against his earlier poor reception has been festering, and breaks out in a jagged and syncopated Aria, I burn with righteous fury, anger is rising within me. For I am judge and jury, their actions I abhor. The insistence of the music becomes more powerful [Treacherous storms and lightning, crashes of fiery thunder] until the storm breaks in a cataclysmic ‘Tempesta con fulmini’, causing Philemon and Baucis to cry out in terror against the full orchestra, Jupiter, we repent! Would you oppress the humblest of mortals who do lament? Fortunately Jupiter is easily appeased (or was he merely showing off?) and the skies lighten and the raindrops gradually fade: An example to all, goodness and virtue, I can do nothing to hurt you!
Other than a few soaked skins, all is well. Jupiter explains his purpose for the couple – they are to be custodians of his temple, and to live with the demigods: more importantly their example of godly virtue will inspire the people to love one another.
Jupiter prepares to depart but reminds them that, if great cares beset thee, I’ll be watching from heaven: do not forget me! The opera ends joyfully with a short and magnificent choral Hymn: Praise to Jove! Ye heav’ns adore him, praise him, cupids, in the height!
Reviews
...as delightful and diversely entertaining as eighteenth-century opera, in its more modest guises, was always intended to be.
TLS, 29 July 2016
...as delightful and diversely entertaining as eighteenth-century opera, in its more modest guises, was always intended to be.
TLS, 29 July 2016
Guy Dammann
...harmonious combination of nature and artifice.
Classical Source, July 2016
...harmonious combination of nature and artifice.
Classical Source, July 2016
Curtis Rogers
... a typically imaginative production... another triumph for Bampton Classical Opera
Seen and Heard International, July 2016
... a typically imaginative production... another triumph for Bampton Classical Opera
Seen and Heard International, July 2016
Roger Jones
...well worth seeing
Bachtrack, July 2016
...well worth seeing
Bachtrack, July 2016
Richard Ely
Magnificent bill of divine comedy
Oxford Times, August 2016
Magnificent bill of divine comedy
Oxford Times, August 2016
Nicola Lisle
A treat of a performance... pure delight throughout
Opera Now, September 2016
A treat of a performance... pure delight throughout
Opera Now, September 2016
Roderic Dunnett
... refreshing and rewarding
Opera, September 2016
... refreshing and rewarding
Opera, September 2016
Claire Seymour
...an ear for young voices
The Times, 14 September 2016
...an ear for young voices
The Times, 14 September 2016
Anna Picard
Rare operas given the knockabout comedy treatment
Evening Standard, 14 September 2016
Rare operas given the knockabout comedy treatment
Evening Standard, 14 September 2016
Nick Kimberley
... a healthy dose of insouciance
Opera Today, 15 September 2016
... a healthy dose of insouciance
Opera Today, 15 September 2016
Claire Seymour
...unquestionably a company triumph
Boulezian, 18 September 2016
...unquestionably a company triumph
Boulezian, 18 September 2016
Mark Berry
...much interest
MusicOMH.com, 15 September 2016
...much interest
MusicOMH.com, 15 September 2016
Sam Smith
…a delightful evening – fun, inventive, with great ensemble singing and playing
Planet Hugill, 15 September 2016
…a delightful evening – fun, inventive, with great ensemble singing and playing
Planet Hugill, 15 September 2016
Ruth Hansford
Articles
Synopsis in detail
Jeremy Gray
Synopsis in detail
The mood of the Overture moves quickly from calm relaxation to energetic vitality and suggests the drama ahead. A lyrical Andante Duet, with warbling flute, introduces the simple pastoral contentment of Baucis and her beloved Philemon: See, my love, how well it pleases: sweetest music, gentle breezes. Their flirting is rudely interrupted by a scruffy stranger, who is angry at the lack of civility shown to him since his recent arrival in Phrygia: These miserable people have no understanding of their obligations as human beings. Philemon and Baucis are quick to show him their characteristic generosity and Jupiter’s bluster and anger subside. In a lilting Aria accompanied by strings, Philemon returns to his favourite pastime, the praise of his sweetheart, acknowledging the divine blessings they receive as a couple: This flame of my affection surges before your beauty. The stranger offers Baucis an enchanted ‘gift of music’, and Philemon leads him away to recover from the rigours of his journey.
Baucis muses on the stranger’s generosity, and wants to offer thanks to Jupiter, but her prayer is quickly transformed into a passionate hymn to her lover: her brilliant Aria, You are my shepherd and lover – your name, your mien astound me is richly accompanied by oboes and horns, and her amorous excitement is expressed in a coloratura line of ever-rising pitch and elaboration. The couple’s love is celebrated in an elegant Chorus and Dance accompanied by pizzicato strings: The faithful love of the fairest of creatures inspires and teaches us how to be one.
Contented with the goodwill of the community, the couple prepare to leave for their wedding, but the stranger suddenly returns and reveals himself as Jupiter. He reassures them of his favour and promises to create a new temple: he himself will be the priest for their wedding. In a surprisingly Anglican-sounding Chorus Love divine, all loves excelling everyone wisely implores Jupiter to remain with them for ever.
Bassoons and lower strings lend a particular colour to Jupiter’s reassuring Aria: My affection and godly devotion will require no ritual treasure. Philemon and Baucis are overwhelmed by such divine favour and in a serene canonic Duet With this ring I pledge before you, with my body I thee cherish, they are married; the music rises in excitement and runs into a short Chorus: Celebration and elation, there’s no happier couple now.
But Jupiter now spoils the party: his resentment against his earlier poor reception has been festering, and breaks out in a jagged and syncopated Aria, I burn with righteous fury, anger is rising within me. For I am judge and jury, their actions I abhor. The insistence of the music becomes more powerful [Treacherous storms and lightning, crashes of fiery thunder] until the storm breaks in a cataclysmic ‘Tempesta con fulmini’, causing Philemon and Baucis to cry out in terror against the full orchestra, Jupiter, we repent! Would you oppress the humblest of mortals who do lament? Fortunately Jupiter is easily appeased (or was he merely showing off?) and the skies lighten and the raindrops gradually fade: An example to all, goodness and virtue, I can do nothing to hurt you!
Other than a few soaked skins, all is well. Jupiter explains his purpose for the couple – they are to be custodians of his temple, and to live with the demigods: more importantly their example of godly virtue will inspire the people to love one another.
Jupiter prepares to depart but reminds them that, if great cares beset thee, I’ll be watching from heaven: do not forget me! The opera ends joyfully with a short and magnificent choral Hymn: Praise to Jove! Ye heav’ns adore him, praise him, cupids, in the height!
Synopsis in detail
Jeremy Gray
Synopsis in detail
The action begins immediately as the messenger god Mercury (Hermes) approaches the Phrygian shepherd Paris with a divine task from Jupiter: From high Olympus, and the realms above, behold I come, the messenger of Jove. Paris is commanded to award a golden apple to one of three beautiful goddesses. In an accompanied recitative descending scales in the strings depict the descent of the goddesses: O ravishing delight! What mortal can support the sight?...Save me rom excess of joy! – Paris faints at the awful task, and in a sprightly Air, Mercury reassures him that he will be quite safe: Fear not, mortal, none shall harm thee; with my sacred rod, I’ll charm thee! Woodwind plays for the first time in an upbeat Duet: Happy I of human race, with no god I’d change my place.
By now the three goddesses have arrived. First to confront Paris is Juno: [Recitative: Saturnia, wife of thund’ring Jove am I, belov’d of him, and Empress of the sky!]; she is swiftly followed by Pallas: This way mortal, bend thy eyes, Pallas claims the golden prize, a virgin goddess free from stain and queen of arts and arms I reign. But Venus already steals attention by singing a voluptuous Air, with ‘cello solo: Gentle swain! Hither turn thee, let not Venus sue in vain.
In a brilliantly comic and insistent Trio, all three vie for attention: Hither turn thee, gentle swain, hither turn to me again, turn to me, for I am she! It’s hardly surprising that Paris is unable to choose: Air, Distracted I turn, but I cannot decide, so equal a title sure never was tried.
Juno returns to the fray with an encouraging Air, which runs into a Chorus: Let ambition fire thy mind, thou wert born o’er men to reign. Pallas retorts in a dramatic Accompanied recitative [Awake, awake, thy spirits raise, waste not thy youthful days, piping, toying, nymphs decoying], which leads into a martial Air, scored with oboes, trumpets and timpani [The glorious voice of war calls aloud, for arms prepare!]. The chorus assumes that the contest is won [O how glorious ‘tis to see, the godlike hero crown’d with victory] but Venus does not intend to give up. She exploits all her sensuous charm in an Accompanied recitative [Stay, lovely youth, delay thy choice, take heed lest empty names enthral thee], leading to a mellifluous Air with Chorus [One only joy mankind can know, and Love alone can that bestow]. Venus persists further in a second flattering Air: Nature fram’d thee sure for loving, thus adorned with ev’ry grace. It is all too much for a mere mortal and Paris is overcome, handing over the coveted apple: I yield, I yield, O take the prize!....Forbear, forbear, O goddess of desire, to fan the raging fire.
Two choral numbers conclude the opera and call on nature to celebrate Venus’ triumph: Hither all ye graces, all ye loves, hither all ye hours resort, billing sparrows, cooing doves, come all the train of Venus’ court! and, finally, Sing, sing, sing and spread the joyful news around! The Queen of Love is Queen of Beauty crowned!
Philemon and Baucis
Jeremy Gray
Philemon and Baucis
Artistic director