Bampton Classical Opera have fun with Salieri at The Barn, Old Walland

Siân Dicker (Mirandolina) & Samuel Pantcheff (Fabrizio)
© Bampton Classical Opera

Andrew Griffiths (Conductor)
Jeremy Gray (Director/Designer)
Harriet Cameron (Assistant Director)
Karen Halliday (Movement Director)

Pauline Smith, Anne Baldwin (Costumes)

Ian Chandler (Lighting)

Alex Norton (Répétiteur)

Siân Dicker (Mirandolina)

Samuel Pantcheff (Fabrizio)

Rosalind Dobson (Lena)

Osian Wyn Bowen (The Baron Ripafratta)

David Horton (The Count of Albafiorita)

Aidan Edwards (The Marquis of Folimpopoli)

The Orchestra of Bampton Classical Opera

Bampton Classical Opera

6.00pm, Saturday 6 September, 2025

The Barn at Old Walland, Wadhurst

★★★★

Antonio Salieri (1750-1825): La locandíera (The Landlady)

(libretto by Domenico Poggi () after Carlo Goldoni (1707-1793), translated by Gilly French and Jeremy Gray) 

arr. Giorgio Croci, by arrangement with Casa Musicale Sonzogno di Piero Ostali

Osian Wyn Bowen (Baron Ripafratta) & Siân Dicker (Mirandolina)
© Bampton Classical Opera

My third visit now to Bampton Classical Opera in the beautiful setting of The Barn at Old Walland, deep in the High Weald, was once again a delight. On a lovely late summer evening, BCO brought their joyous production of a hitherto unknown (to me) jolly romp by Salieri, La locandiera (The Landlady), having given three other performances at Bampton and Westonbirt, with one more to come at Smith Hall, London on 16 September.

In the 200^th anniversary year of Salieri’s death, it is a good point to be reassessing a composer who was remarkably successful and popular in his lifetime, yet pretty universally neglected thereafter. Pushkin’s play Mozart and Salieri and of course, Peter Shaffer’s play Amadeus and its film version, did a great deal to embed the myth of Salieri’s jealousy and even murderous conspiracy to bring down his young rival, despite there being no real evidence for this. And despite Salieri’s subsequent reputation for being more pedestrian than the younger ‘genius’, it’s interesting to note that in La locandiera, Salieri is exploring the somewhat revolutionary territory of servants getting one over on the noblemen that Mozart’s Le nozze di Figaro is credited with, some thirteen years earlier than his rival.

 

So in La locandiera, we have the strong female lead, landlady Mirandolina, getting one over on not just one but three noblemen. The Count and the Marquis are straightforward suitors, whilst the Baron claims to eschew all women, immediately riling Mirandolina with his misogynistic behaviour and demands. Mirandolina resolves to trick him by winning him over, before ultimately unmasking him as a fool. Understandably this confuses her servant Fabrizio, who is in love with her, and he becomes enraged as she turns her charms on the Baron. After three acts of shenanigans, all is resolved, and Mirandolina chooses Fabrizio over the three supposedly ‘better prospects’. Now of course the behaviour of the male characters is made fun of, and ultimately they are defeated – but there still a sense that their unwanted approaches, bordering on harassment, are just a bit of fun. And despite her strength and rejection of their misogyny, Mirandolina still ends up with Fabrizio, who has exhibited several outbursts of red-flag jealousy. But putting these twenty-first century qualms to one side, it is still the women that come out clearly on top at the end, with even the maidservant Lena getting a final opportunity to take charge of her fate. 

 

David Horton (Count) & Aidan Edwards (Marquis)
© Bampton Classical Opera

Gilly French and Jeremy Gray, BCO’s artistic directors, provided the translated libretto, and it was full of their playful humour that I’ve seen in previous productions here. Lots of great rhymes (custard/flustered, behaviour/gave ya, bile/style – not quite sure about chicken/kick-in though…) support the humour, and memorable lines emphasise the subversion. The Baron likes ‘her forthright manner’, which ‘disturbs the status quo’, and Mirandolina is given the strong statement ‘I’m a woman and women are tough’.

 

Siân Dicker excelled as the feisty Mirandolina, her powerful voice suiting the larger-than-life character, filling the small space. Yet Mirandolina isn’t one dimensional, and in her Act 2 aria, when she repeats that phrase ‘I’m a woman and women are tough’, Dicker shifted between angry confidence and moments of self-doubt, as Salieri’s music also shifts into darker harmonies. Samuel Pantcheff’s Fabrizio was also multi-dimensional, portraying well confusion and jealousy at Mirandolina’s actions, as well as genuine warmth and affection, and Pantcheff & Dicker’s final love duet was touchingly beautiful. Pantcheff also had great fun with the sight gag of delivering ever more ridiculous eggs for the Baron in Act 1.

 

Osian Wyn Bowen’s Baron was suitably uptight and pernickety, and his clear-toned tenor gave us a range from initial arrogance, through to softening warmth as he succumbed to Mirandolina’s charms (with a particularly lyrical aria in Act 2), then finally to angry frustration and humiliation. Aidan Edwards’ Marquis and David Horton’s Count formed a great double act, Horton’s wiry tenor and wily confidence contrasting well with Edwards’ warm baritone and comic buffoonery. Their non-sensical sporting costume changes (tennis/table tennis, to golf, to croquet?) added a fun counterpoint to the Baron’s natty formal dress. Rosalind Dobson’s Lena was lightly playful, her bright soprano and her mischievous asides providing dashes of additional humour, particularly in the final moments. Ensemble pieces had great energy and fine-tuned balance, and the sextets at the end of Acts 2 and 3 were highly impressive.

Rosalind Dobson (Lena)
© Bampton Classical Opera

The production was tight and pretty polished, considering the limited space they had in The Barn. When the full cast of six were all on stage, it was more than a little cosy, and there were one or two props that almost came a cropper. But despite this, they made convincing use of the one set, which shifted between serving as the Baron’s room and other spaces in the inn. Costumes were simple yet bright, and lighting equally straightforward, with just occasional shifts of tone and colour. 

 

Andrew Griffiths conducted the 11 piece band with energy and elegance, and the balance was mostly assured, with the horns off to one side avoiding overly dominating the light strings. Alex Norton on harpsichord gave delicate support in the recitatives, and Griffiths kept everything moving along at a jolly pace throughout.

 

BCO have talked about focussing on semi-staged and concert performances in coming years. Here’s hoping that these lightly staged yet joyful performances at The Barn continue to be a part of their offering in the future.

Bampton Classical Opera
© Nick Boston

The Barn at Old Walland
© Nick Boston

Bampton Classical Opera bring effervescent Haydn to East Sussex

Madeline Robinson (Volpino) & Henry Ross (Mengone)
(from Northern Aldborough Festival)

Bampton Classical Opera is celebrating its 30th anniversary this year. Their focus has always been on performing lesser-known 18th century opera, and they work with young singers early on in their careers. Whilst their home is in Oxfordshire, they occasionally venture further afield, and last year visited for the first time the glorious setting of The Barn at Old Walland, near Wadhurst in East Sussex. This year they returned for a performance of Haydn’s opera buffa, The Apothecary (Lo speziale), Hob. 28/3.

Haydn wrote at least 15 or so full operas, yet compared to the rest of his output, they are mostly little known, and rarely performed. They are on the whole light affairs, mostly performed for the private consumption of the Esterhazys, and were perhaps eclipsed by the scale of Mozart’s operatic success. But this doesn’t entirely explain the neglect of Haydn’s works, and The Apothecary, despite its perhaps predictable plot based on rival suitors, disguise and triumph of love, actually anticipates quite closely Mozart’s Così fan tutte, even down to Mengone and Volpino’s disguises, firstly as bearded notaries and then as ‘exotic’ Turks. Whilst the full libretto has survived, most of Haydn’s original music for Act 2 is lost, and has been reconstructed by H C Robbins Landon. Nonetheless, the score is full of life and variety, with strong momentum driving the action forward at all times. The Orchestra of BCO, a 9-piece band (single strings, with oboes and horns), were sprightly and energetic throughout, with shapely conducting from Mark Austin bringing out the detail and spark in Haydn’s score, setting the scene right from the lively overture with its graceful central minuet.

Henry Ross (Mengone) & Iúnó Connolly (Grilletta)
(from Northern Aldborough Festival)

Henry Ross as Mengone set the scene well with his warm, winning tone, and he captured the humour of being put-upon by boss Sempronio but also being shown up as rather cowardly against Iúnó Connolly’s feisty Grilletta. By and large John Warrack’s translation of Carlo Goldoni’s libretto works well, although a few jokes suffer a little from over repetition (‘Detonate a motion’ and ‘Your bowels will surely move’ works once or twice, but…). Connolly’s Grilletta delivered the fullest, most rounded voice of the cast, contrasting sweetness with anger and determination, with a bell-like top. Madeline Robinson’s Volpino gave the strongest comic turn, with scene-stealing wry expressions behind the other characters, and indignation and frustration oozing from her nimble vocal lines. Guy Beynon’s Sempronio was clear and bright, and he portrayed the old apothecary well as slightly bumbling and obsessed with his newspapers. More weight in the voice would have given greater authority to his bouts of anger, but as a professional debut this was impressive - definitely one to watch.

Guy Beynon (Sempronio)
(from Northern Aldborough Festival)

The dodgy notary costumes brought an element of pantomime to proceedings, and Ross and Robinson made the most of the comedy here. Similarly, they had fun with their ‘Turk’ disguises, despite the libretto sailing close to the wind in terms of ethnic sensitivities. And of course, the rapid resolution ended with a joyful quartet. The set, given the constraints of space, was simple yet effective, the only main item on stage being the apothecary’s cabinet, with a few chairs. Subtle lighting also added colour and changes of mood throughout. The use of mid-air mimed locking and unlocking of a door stage left appeared out of kilter, but otherwise, good use was made of the space available. Otherwise, this was a clever and well-executed staging from Director Jeremy Gray, full of effervescent humour and a light touch throughout.

The cast, The Barn at Old Walland

The wonderful barn setting and heat of the evening added an air of intimacy and summer fun to proceedings, and all was highly appreciated by the sold-out audience. The Barn at Old Walland plan more events, not necessarily just opera, so I’ll be keeping an eye out for their future plans. Hopefully Bampton Classical Opera will return soon too.

The Barn at Old Walland