Review: Piramo e Tisbe

What a gorgeous piece of music from an unjustly forgotten composer! Johann Adolph Hasse was one of the most important opera composers between Handel and Mozart. He was a proponent of a style of music called galant or empfindsamer stil (“sensitive style”), more interested in melody than the earlier Baroque style, but more ornamented than the Classical style that would follow. By the time he wrote Piramo e Tisbe (1768) – based on an ancient tale of star-crossed lovers that inspired Romeo & Juliet – this style was falling out of fashion, but Hasse bucked prevailing trends to write an opera that was among the most melodically elaborate he ever wrote.

Director Phillip Shneidman sets the action in a vaguely contemporary setting to mixed effect; Alex Basco Koch’s subtle projection design gives the production some appropriately melancholy atmospherics. Musically, this luscious opera is being given a gorgeous account under the baton of New Vintage Baroque’s Elliot Figg.

Most of the vocal pyrotechnics go to the cross-dressed “pants role” Piramo, and mezzo Kristin Gornstein makes a musically brilliant and powerful impact in the role. Soprano Kelly Curtin’s role Tisbe is full of expressive passages, and she delivers them with elegance and strength. In the role of Tisbe’s father, known only as Padre, tenor Glenn Seven Allen deftly negotiates a role that demands a balance of galant lightness and a father’s stony fury. Recommended.

For tickets, click here.

To learn about Jonathan Warman’s directing work, see jonathanwarman.com.

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