Wonderful. Marvelous. That’s how the Chelsea Opera Group effort presenting these not so frequent operas is. And happily the results are, so far, equally wonderful and marvelous. Mosè in Egitto is a biblical themed opera by Rossini with kind of static action that suits very well a concert performance everything focused on the orchestra, the choir and the soloists. The orchestra played nicely with precision the whole night without any single mistake and thanks to the conductor Robin Newton with a very rossinian language, taking care of all the colors and contrasting dynamics.
New concert from the London Chamber Orchestra series. I was shocked by the orchestra and the conductor waiting on the stage for a member of the royal family to enter the hall and seat down. In a concert the highest authority is the conductor, and is the only one to be waited for. More shocking was having most of the audience standing while that person from royal family was entering. I have seen people on some other concert halls standing up because a national anthem was played, but not for someone walking in.
This was my first opera concert by Chelsea Opera Group and right away after it I got a ticket for the next performance by then (Rossini Mosè in Egitto next February). That summarizes perfectly my experience. First, it is amazing how a group of enthusiasts can assemble something as good as this performance of Christmas Eve by Rimsky-Korsakov. Second it was really brilliantly picked: a infrequent opera that is still very nice and deserves to be known.
2017 / 2018 London Chamber Orchestra season is about emotions. This first concert was titled Jealousy and built around the jealousy that supposedly Salieri felt of Mozart. Or that is the fake story. But we love stories and was really nice to have on the stage before the music the leading actors of the National Theatre Amadeus production to talk a little bit about this. The first part of the concert was the Salieri short sypmhony Il giorno onomastico.
After the Piemontesi Mozart concert from the day before, more Mozart piano music: this time it was Piano Concerto No. 22 with Llŷr Williams as soloist and the Royal Philharmonic Orchestra conducted by Hilary Davan Wetton (the man with the longest baton in UK). Although it was a nice performance I found sort of a discrepancy between the classical soft-and-sweet Mozart that the orchestra was playing with light dynamics and the darker and more revolutionary that Williams played on the solo parts, with kind of messy cadenzas.