Classical Opera’s MOZART 250 is an epic project which travels 250 years back in time to follow the chronological trajectory of Mozart’s life, works and influences. From January 2015, the 250th anniversary of Mozart’s childhood visit to London, during which he composed his first significant works, MOZART 250 follows  Mozart’s journey, culminating in the year 2041, the 250th anniversary of his death.

It is hard to think of a more valuable or ambitious long term musical project than Ian Page and Classical Opera’s MOZART 250.

1770 (2020)

Our survey of 1770 has seen a retrospective concert exploring the year and a three-day mini-festival exploring Mozart’s time in Italy. A complete concert production of Mitridate, re di Ponto was scheduled to take place in November but was unable to go ahead due to the Covid-19 pandemic.

1770 — a retrospective
9 January 2020, 7.30pm — Wigmore Hall, London


J.B. Vanhal Symphony in E minor, e1
C.W. Gluck “O del mio dolce ardor” from Paride ed Elena
“Tutto qui mi sorprende… Le belle immagini” from Paride ed Elena
F.J. Haydn “Caro Volpino amabile” (2nd version) from Lo speziale
“Già si vede i vezzi e vanti” from Le pescatrici
J.C. Bach Duet, “Guardami in volto” from Gioas, re di Giuda
W.A. Mozart “Lungi da te, mio bene” from Mitridate, re di Ponto
N. Jommelli “Guardalo, è quell’istesso… Misero pargoletto” from Demofoonte
J.C. Bach Symphony in G minor, Op. 6, no. 6
W.A. Mozart Duet, “Se viver non degg’io” from Mitridate, re di Ponto










Soloists: Samantha Clarke (soprano)
        Ida Ränzlöv (mezzo-soprano)


Mozart in Italy

6-8 March 2020 — Cadogan Hall


Friday 6 March
Cliff Eisen, Professor of Music History at King’s College London, presents an overview of Mozart’s 1770 tour of Italy.
W. A. Mozart Symphony in D, K.100/62a
P. A. Guglielmi Aria, “In un mar di tante pene” from Ruggiero SC
Aria, “Degna non è d’un soglio” from Ruggiero SJ
Aria, “Ah, spiegar non posso” from Ruggiero RK
Aria, “A morte, men vado” from Ruggiero RK
Trio, “Ingrata mi sgridi” from Ruggiero SC,RK,SJ
W. A. Mozart Symphony No. 9 in C, K.73/75a
Aria, “Se tutti i mali miei”, K.83/73p SC
Aria, “Ah, più tremar non voglio”, K.71 (fragment) SJ
Aria, “Misero me… Misero pargoletto”, K.77/73e RK

Soloists: Samantha Clarke (soprano)
        Rachel Kelly (mezzo-soprano)
        Stuart Jackson (tenor)

Saturday 7 March

Cliff Eisen (speaker)

Chamber Choir of King’s College, London
Edward Jones (conductor)

G. Allegri Miserere
W. A. Mozart Puzzle canons from K.89
Confitebor tibi Domine
Thebana bella cantas
G. B. Martini Credo (excerpt)
W. A. Mozart Quaerite primum Dominum Dei, K.86;
E. de Ligniville Stabat Mater (excerpt)
W. A. Mozart Miserere, K.85


Panel Discussion: MOZART’S 1770 ITALIAN TOUR
Writer and broadcaster James Jolly chairs a discussion with Cliff Eisen, Sergio Durante and Ian Page.
N. Piccinni Aria, “Son Romano, e sono amante” from Cesare in Egitto
I. Celoniati Duet, “Prendi l’estremo addio” from Didone abbandonata
Aria, “Se non odo dal mio bene” from Didone abbandonata SA
W.A. Mozart Symphony No. 10 in G major, K.74
Aria, “Se ardire e speranza”, K.82/73o
Aria, “Fra cento affanni e cento”, K.88/73c
J. Mysliveček Overture to La Nitteti
Aria, “Povero cor, tu palpiti” from La Nitteti
Aria, “Se la cagion saprete” from La Nitteti
W.A. Mozart Contredanse in B flat major, K.123/73g
Minuet in E flat, K.122/73t
Duet, “Se viver non degg’io” (original version) from Mitridate, re di Ponto

Soloists: Kiandra Howarth (soprano)
. Sarah Aristidou (soprano)

Sunday 8 March
Sergio Durante (speaker)
W.A. Mozart Symphony (No. 44) in D major, K.81/73l
B.Galuppi “Un pensier mi dice” from L’amante di tutti
N. Jommelli Aria, “Misera me!… Ah! ti sento” from Armida abbandonata
Aria, “Fra l’orror di notte oscura” from Armida abbandonata
Aria, “Misera Armida… Odio, furor, dispetto” from Armida abbandonata
Q. Gasparini Aria, “Se di lauri il crine adorno” from Mitridate, re di Ponto
W. A. Mozart Aria, “Se di lauri il crine adorno” from Mitridate, re di Ponto
(1st version, completed by Stanley Sadie)
Symphony in D major, K.84/73q
Aria, “Se di lauri il crine adorno” from Mitridate, re di Ponto (final version)
Q. Gasparini Cavata, “Pallid’ ombre che scorgete” from Mitridate, re di Ponto
W. A. Mozart Cavatina, “Pallid’ ombre che scorgete” from Mitridate, re di Ponto

Soloists: Sarah Aristidou (soprano)
        Kiandra Howarth (soprano)
       . Stuart Jackson (tenor)


Mitridate, re di Ponto

26 November 2020 — Queen Elizabeth Hall, Southbank Centre (cancelled due to Covid-19)

It’s the 250th anniversary of the 14-year-old Mozart’s ambitious opera, Mitridate, re di Ponto. First heard at the Teatro Regio Ducale in Milan on 26 December 1770, the composition of this opera marked the end of Mozart’s first trip to Italy, as well as the first operatic success of a composer still a month short of his 15th birthday. The opera is based on Racine’s tragedy Mithridate, and with it the young Mozart displays stunning virtuosity, insight and beauty.

1769 (2019)

In 2019, we presented a wide-ranging survey of the musical year 1769, as well as a selection of fascinating operas from Hasse and Gluck, based on tales from Ovid’s Metamorphoses. 

1769: A Year in Music

29 January 2019, 7.30pm – Queen Elizabeth Hall, Southbank Centre


W. A. Mozart Symphony from Cassation in G major, K.63
T. A. Arne Two airs from An Ode upon Dedicating a Building to Shakespeare
“Thou soft fl owing Avon”
“Tho’ crimes from death and torture fl y”
W. A. Mozart “Cara, se le mie pene”, K.deest
G. Paisiello “Venga pur” from Don Chisciotte della Mancia
F. J. Haydn “Son vecchio, son furbo” from Le pescatrici
L. Mozart Symphony in G major, ‘Neue Lambach’ – 1st movement
C. P. E. Bach “Gott, sieh dein Volk” from Die Israeliten in der Wüste
C. W. Gluck “Nochier che in mezzo all’onde” from Aristeo
F. J. Haydn Symphony No. 48 in C major, ‘Maria Theresia’

Chiara Skerath (soprano)
        James Newby (baritone)


Hasse: Piramo e Tisbe

28 March 2019, 7.30pm – Cadogan Hall, London
A fascinating and highly unusual intermezzo based on a tragic tale from Ovid’s Metamorphoses. Composed in 1768 and revived in 1770, it was regarded by the composer as the best of his sixty-two operas, and it differs radically from his previous works, incorporating and developing many of Gluck’s operatic reforms in music of sumptuous lyricism and pathos.


Tisbe   Chiara Skerath (soprano)
Piramo   Kiandra Howarth (soprano)
Il padre   Gwilym Bowen (tenor)


Gluck: Bauci e Filemone, Orfeo

29 & 31 May 2019, 7.30pm – Queen Elizabeth Hall, Southbank Centre
An enchanting pair of one-act Gluck operas based on stories recounted by Ovid — hailed by the BBC as “the world’s greatest story-teller” — in his celebrated Metamorphoses. Both originally formed part of Le feste d’Apollo, a triple bill composed for a royal wedding in Parma in August 1769.


Bauci e Filmeone (libretto by Giuseppe Maria Pagnini)
Bauci Rebecca Bottone (soprano)
Filemone Lena Belkina (mezzo-soprano)
Giove Gwilym Bowen (tenor)
La pastorella Kiandra Howarth (soprano)
Orfeo (libretto by Ranieri de’ Calzabigi)
Orfeo Lena Belkina (mezzo-soprano)
Euridice Kiandra Howarth (soprano)
Amore Rebecca Bottone (soprano)
Actors Luke Elliott
Nadi Kemp-Sayfi
Dominyka Morkvėnaitė

1768 (2018)

In 2018, we turned to historical documentation and scholarly research to inform a rich and varied programme of music from the year 1768, culminating in the modern première of the original version of Mozart’s Bastien und Bastienne.

1768 – a retrospective

23 January 2018, 7.30pm – Wigmore Hall, London


F. J. Haydn Symphony No. 26 in D minor, “Lamentatione”
N. Jommelli “Ombre che tacite qui sede” from Fetonte
J. C. Bach Flute Concerto in D major
F. J. Haydn “Amore nel mio petto” and “Salamelica, Semprugna cara” from Lo speziale
W. A. Mozart Sinfonia and “Amoretti, che ascosi qui siete” from La finta semplice, K.51
J. A. Hasse “Perderò l’amato bene” from Piramo e Tisbe
J. B. Vanhal Symphony in D minor (d1)

Soloists: Chiara Skerath (soprano)
       . Katy Bircher (flute)


Haydn: Applausus

15 March 2018, 7.30pm – Cadogan Hall, London

This one-act cantata was commissioned as an act of homage to celebrate the fiftieth anniversary of Abbot Rainer Kollman of the Cistercian monastery in Zwettl taking his vows. Haydn composed the work in early 1768 but was unable to travel to Zwettl to supervise its performance; he therefore wrote a letter giving detailed instructions of how his music should be performed, and this document has survived, providing fascinating practical information and insights into eighteenth-century performance practice.


Temperantia Ellie Laugharne (soprano)
Prudentia Elspeth Marrow (mezzo-soprano)
Justitia Thomas Elwin (tenor)
Fortitudo John Savournin (bass-baritone)
Theologia David Shipley (bass)

Mozart: La finta semplice

2 June 2018, 7.30pm – Birmingham Town Hall
6 & 8 June 2018, 7.00pm – Queen Elizabeth Hall, Southbank Centre

Written when the composer was just twelve years old, the opera is based on a sparkling comedy by Carlo Goldoni, and combines situations of great comic invention and genuine humour with music of extrordinary beauty, energy and psychological insight.


Rosina, a Hungarian Baroness, sister of Fracasso Regula Mühlemann (soprano)
Don Cassandro, a rich Cremonese landowner Lukas Jakobski (bass)
Don Polidoro, his younger brother Alessandro Fisher (tenor)
Giacinta, their sister Sophie Rennert (mezzo-soprano)
Ninetta, their maid Chiara Skerath (soprano)
Fracasso, a Hungarian captain Thomas Elwin (tenor)
Simone, his sergeant Božidar Smiljanić (bass)

Mozart: Bastien und Bastienne

18 September 2018, 7.30pm – Wigmore Hall, London

The modern première of the original version of Mozart’s Bastien und Bastienne, based on research developed since the relatively recent rediscovery of Mozart’s autograph manuscript.


F. J. Haydn Symphony No. 49 in F minor, ‘La Passione’
Anon. Arias from Teutsche Comoedie Arien
“Wurstl mein Schaz’rl”
“Verdopple deine Wuth”
“Die Braut zu vergessen”
“O du arme Welt”
“Du könntest zwar vor allen”
W. A. Mozart Bastien und Bastienne, K.50


Soloists: Ellie Laugharne (soprano) 
        Alessandro Fisher (tenor)
        Darren Jeffery (bass-baritone)


1767 (2017)

In 2017, we looked back to Mozart’s eleven-year-old self, with productions of his first two stage works, early keyboard sonatas, and a retrospective concert exploring his music alongside that of his contemporaries.

1767 – a retrospective

17 January 2017, 7.30pm – Wigmore Hall, London


W. A. Mozart Symphony No. 6 in F major, K.43
F. L. Gassmann “Bella in un vago viso” from Amore e Psiche
C. W. Gluck “No, crudel, non posso” from Alceste
J. C. Bach “Sopra quel capo indegno” from Carattaco
K. F. Abel “Frena le belle lagrime” from Sifari
W. A. Mozart Grabmusik, K.42
F. J. Haydn “Vidit suum” and “Flammis orci” from Stabat Mater
T. Arne Symphony in C major
W. A. Mozart “Natus cadit” from Apollo et Hyacinthus, K.38

Gemma Summerfield (soprano)
.        Stuart Jackson (tenor)
     ..  Ashley Riches (bass-baritone)

Mozart: The First Commandment

21 March 2017, 7.30pm – St John’s Smith Square

A rare new production of Mozart’s first stage work, composed when he was just eleven years old. Mozart’s score represents the first part of a three-part sacred drama which was performed in Salzburg in 1767, but the two remaining parts are lost. The music is full of tender beauty, dynamism and descriptive flair, and the young composer’s innate understanding and sympathy for the human condition already shine through.


Christian Alessandro Fisher (tenor)
Christian Spirit Sam Furness (tenor)
Worldly Spirit Rebecca Bottone (soprano)
Compassion Gemma Summerfield (soprano)
Justice Helen Sherman (mezzo-soprano)


Kristian Bezuidenhout at Wigmore Hall

16 May 2017, 7.30pm – Wigmore Hall, London

Composed in the summer of 1767, these works were initially believed to be Mozart’s own compositions, but have since been identified as orchestrations of existing eighteenth-century sonatas. As such, they offer fascinating insights into the eleven-year-old Mozart’s development as a composer.


W. A. Mozart Keyboard Concerto No. 1 in F major, K.37
Licenza, “A Berenice… Sol nascente in questo giorno”, K.70
Keyboard Concerto No. 2 in B flat major, K.39
Keyboard Concerto No. 3 in D major, K.40
“Ein ergrimmter Löwe brüllet” from Die Schuldigkeit des ersten Gebots, K.35
Keyboard Concerto No. 4 in G major, K.41

Soloists: Kristian Bezuidenhout (harpsichord)
.     .. Soraya Mafi (soprano)


Mozart: Apollo et Hyacinthus

12 & 13 June 2017, 7.30pm – St John’s Smith Square

A new production of Mozart’s delightful Apollo et Hyacinthus, the second of his two stage works from 1767. The opera was sung in Latin, and is based on a colourful story from Ovid’s Metamorphoses. Mozart was only eleven years old when he wrote this remarkable work, but the music is astonishingly accomplished, frequently anticipating the wonders of his maturity.


W. A. Mozart   Symphony in G major, K.45a, ‘Lambach’
  Grabmusik, K.42 (Sung in German with English surtitles)
  Apollo et Hyacinthus, K.38 (Sung in Latin with English surtitles)


Der Engel Gemma Summerfield (soprano)
Die Seele Benjamin Appl (baritone)
Apollo et Hyacinthus
Oebalus Benjamin Hulett (tenor)
Melia Klara Ek (soprano)
Apollo Tim Mead (countertenor)
Zephyrus James Hall (countertenor)
Hyacinthus Gemma Summerfield (soprano)
Priest of Apollo Benjamin Appl (baritone)

1766 (2016)

Following the triumphant launch of MOZART 250, we continued our unique traversal of the musical scene 250 years ago with a fascinating programme of works dating from 1766.


1766 – a retrospective

19 January 2016, 7.30pm – Wigmore Hall, London


W. A. Mozart Symphony No. 5 in B flat major, K.22
N. Jommelli “De’ miei desiri ormai… Che farò” from Il Vologeso
W. A. Mozart “Per pietà, bell’ idol mio”, K.78
“O temerario Arbace… Per quel paterno amplesso”, K.79
J.B Vanhal Symphony in G minor (g2)
F. J. Haydn “Et incarnatus est” from Missa Cellensis in honorem BVM
P. A. Guglielmi “Povera me!… Sento aimè, nè so che sia” from Lo spirito di contradizione
F. I. Beck 1st movement from Symphony in D major, Op.4, no.1
J. C. Bach “Ah, why shou’d love with tyrant sway”
W. A. Mozart “Or che il dover… Tali e cotanti sono”, K.36
Symphony in G major, K.45a, ‘Lambach’

Louise Alder (soprano)
.    .   Benjamin Hulett (tenor)


Jommelli: Il Vologeso

The UK premiére of Niccolò Jommelli’s Il Vologeso, first performed 250 years ago on 11 February 1766 for the Stuttgart court in Ludwigsburg.


Vologeso, King of Parthia Rachel Kelly (mezzo-soprano)
Berenice, Queen of Armenia, engaged to Vologeso Gemma Summerfield (soprano)
Lucio Vero, joint Roman Emperor Stuart Jackson (tenor)
Lucilla, Roman noblewoman, engaged to Lucio Vero Angela Simkin (mezzo-soprano)
Flavio, a Roman ambassador Jennifer France (soprano)
Aniceto, Lucio Vero’s attendant Tom Verney (countertenor)

La Canterina

8 September 2016, 7.30pm – Schloss Esterhazy, Eisenstadt, Austria
19 September 2016, 7.30pm – Wigmore Hall, London

This programme was formed of works written in 1766 by Haydn and Josef Mysliveček, known after his death as ‘the divine Bohemian’. Four dynamic arias from Mysliveček’s first opera were framed by two contrasting Haydn works – a superbly crafted symphony and a vivacious comedy about love, deception and singing lessons.


F. J. Haydn Symphony No. 34 in D minor
J. Mysliveček Arias from Semiramide
F. J. Haydn La canterina


Gasparina Susanna Hurrell (soprano)
Apollonia Rachel Kelly (mezzo-soprano)
Don Ettore Kitty Whately (mezzo-soprano)
Don Pelagio Robert Murray (tenor)

1765 (2015)

MOZART 250 launched in 2015 with the first ever in-depth retrospective of Mozart’s childhood visit to London, during which he wrote his first symphonies and arias.


1765 – a retrospective

22 January 2015, 7.30pm, Wigmore Hall, London

Mozart 250 began in 2015, the 250th anniversary of Mozart’s childhood sojourn in London, and launched with this fascinating retrospective of the year 1765. The programme featured music written in London, Paris, Vienna, Eisenstadt, Naples and The Hague, and included Mozart’s first symphony and concert arias.


W. A. Mozart Symphony No. 1 in E flat major K.16
Concert aria, “Va, dal furor portata”, K.21
C. W. Gluck “In mezzo a un mar crudele” from Telemaco
J. C. Bach “Cara, la dolce fiamma” from Adriano in Siria
F. D. Philidor Scene from Act 3 of Tom Jones
C. W. Gluck “Di questa cetra in seno” from Il Parnaso confuso
A. Sacchini “Barbara figlia ingrata” from Creso
W. A. Mozart Concert aria, “Conservati fedele”, K.23
F. J. Haydn Symphony No. 39 in G minor
J. C. Bach Trio, “Ah, genitore amato” from Adriano in Siria

Anna Devin (soprano)
.       .Sarah Fox (soprano)
.       .John Mark Ainsley (tenor)


Mozart in London
Friday 20 to Sunday 22 February 2015, Milton Court, London.

Mozart arrived in London in April 1764 as a uniquely talented eight-year-old, and he and his family stayed for fifteen months. This weekend of events was the first major exploration of this important visit, and as well as all the key works that Mozart composed during the period it featured a vibrant cross-section of music that was being performed in London during his stay, some of which had not been heard since the eighteenth century.

Friday 20 February


Talk: An introduction to Mozart’s London.
.Cliff Eisen (speaker)

Concert: Mozart’s London


W.A. Mozart Symphony No.1 in E flat major, K.16
T. Arne Four Airs from Judith: “Sleep, gentle Cherub! Sleep descend”
“Adorn’d with every matchless grace”
“O torment great, too great to bear”
“No more the heathen shall blaspheme”
J.C. Bach Harpsichord Concerto in D major, Op.1, No.6
Three Songs sung at Ranelagh Gardens:
G. F. Tenducci “Indeed my dear, in vain you strive”
Anon. “Patty of the Mill”
T. Arne “Nymphs and Shepherds”
W.A. Mozart Symphony No. 4 in D major, K.19
T. Arne Four Airs from Act 1 of Artaxerxes:
“Amid a thousand racking woes”
“Behold on Lethe’s dismal strand”
“O too lovely, too unkind”
“Fly, soft ideas, fly”

Soloists: Anna Maria Labin (soprano)
        .Helen Sherman (mezzo-soprano)
        .Robert Murray (tenor)
        .Steven Devine (harpsichord)

Saturday 21 February

Discussion: Mozart in London
.         Andrew McGregor, Cliff Eisen, Ian Page & David Vickers

Concert: Capricious Lovers: The English Opera in Mozart’s London

George Rush The Capricious Lovers 
Overture (Allegro – Allegretto – Allegro)
“Thus laugh’d at, jilted and betray’d”
“How strange the mode which truth neglects”
“If tyrant love with cruel dart”
Trio, “For thee my love shall ever burn”
Michael Arne & Jonathan Battishill Almena
“Till thou seest the timid fawn” (Arne)
“Would you taste of freedom’s charms” (Battishill)
“The martial host and tented plain” (Battishill)
William Bates Pharnaces
“In this I fear my latest breath”
“The spectre Death when view’d from far”
Trio, “The gracious pow’rs with timely care”
Thomas Arne The Guardian Outwitted
Overture (Con spirito – Larghetto – Andantino ed amoroso)
Duet, “O Dolly, I part with a hole in my heart”
“When from beauty sweetly blooming”
“O how great is the vexation”
(pasticcio) The Maid of the Mill
“To speak my mind” (Duni)
“In love to pine” (the late Elector of Saxony)
“Hist, hist! I hear my mother call!” (Arnold)
Duet, “My life, my joy” (J.C. Bach)
Thomas Arne Artaxerxes 
“If the river’s swelling waves”
“By that belov’d embrace”
“Monster, away!”
“Thou like the glorious sun”

Rebecca Bottone (soprano)
        .Sarah-Jane Brandon (soprano)
        .Samantha Price (mezzo-soprano)
        .Robert Murray (tenor)

Talk: A night at the Opera in Mozart’s London
.   .David Snowman (speaker)

Concert: An Exotic and Irrational Entertainment: The Italian Opera in Mozart’s London

(pasticcio) Ezio
Vento “Belle luci che accendete”
Pescetti “Caro mio bene, addio”
(pasticcio) Berenice
Vento “Che pretendi, o ciel tiranno?”
J.C. Bach “Confusa, smarrita”
J.C. Bach Adriano in Siria
“Disperato in mar turbato”
“Tutti nemici e rei”
“Ah, come mi balza il cor… Deh, lascia, o ciel pietoso”
Vento Demofoonte
“Misero pargoletto”
“Se tutti i mali miei”
Duet, “Sposo, consorte… La destra ti chiedo”
(pasticcio) Solimano
Pescetti “Se del caro mio germano”
Perez “Se non ti moro a lato”

Soloists: Anna Devin (soprano)
.       Martene Grimson (soprano)
.       Samantha Price (mezzo-soprano)


Sunday 22 February


Concert: The Genesis of Genius: Mozart’s Chelsea Notebook

1. 2.
[Allegro] in F, K.15a A Contemporary Report on Mozart’s Genius
[Andantino] in C, K.15b ‘Sonata Finale’(?) in F, K.15x
[Menuett] in G, K.15c [Minuetto] in G, K.15y
[Rondeau] in D, K.15d ‘Sonata Finale’(?) in B flat, K.15aa
[Contredanse] in G, K.15e ‘Sonata Finale’(?) in D, K.15bb
[Tempo di Minuetto] in C, K.15f ‘Sonata First movement’(?) in E flat, K.15cc
[Contredanse] in F, K.15h
[Minuetto] in A (with Trio in A minor), K.15i/k The “London Notebook” – which instrument?
[Contredanse] in A (with Trio in A minor), K.15l [Minuetto] in E flat, K.15ee
[Minuetto] in F, K.15m [Minuetto] in A flat, K.15ff
[Andante] in D, K.15o [Rondeau] in F, K.15hh
Introducing Mozart’s “London Notebook” ‘Sonata’(?) (or Sinfonia):
‘Sonata’(?) (or Sinfonia): . . . . . . . I: B flat, K.15ii
. . . . . . . I: G minor, K.15p . . . . . . . II: E flat, K.15kk
. . . . . . . II: B flat, K.15q . . . . . . . III: B flat, K.15ll
. . . . . . . III: G minor, K.15r
‘Sonata’(?) (or Sinfonia): [Andante] in E flat, K.15mm
. . . . . . . I: F, K.15t [Tempo di Minuetto] in F, K.15oo
. . . . . . . II: D minor, K.15u [Minuetto] in B flat, K.15pp
. . . . . . . III: F, K.15v [Minuetto] in E flat, K.15qq

John Irving (fortepiano)

Talk: Georgian London
    .Lucy Inglis (speaker)

Concert: Bach, Abel and Mozart: London Concert Life in 1765

J.C. Bach Symphony in G major, Op.3, No.6
W. A. Mozart “Va, dal furor portata”, K.21
J.C. Bach “Cara, la dolce fiamma” from Adriano in Siria
C. F. Abel Symphony in E flat, Op.7, No.6
Overture to Love in a Village
J.C. Bach “Misera, che ascoltai… Più madre non sono” from Orione ED
“Non so d’onde viene” from Ezio BJ
W. A. Mozart Symphony in F major, K.19a

Soloists: Eleanor Dennis (soprano)
        .Ben Johnson (tenor)


J.C. Bach: Adriano in Siria

14, 16, 18 April 2015, 7.00pm, Britten Theatre, London

The première of Johann Christian Bach’s Adriano in Siria took place at the King’s Theatre, Haymarket on 26 January 1765, the eve of Mozart’s ninth birthday, and attracted such a large audience that scarcely a third of those assembled were able to get seats.


Adriano, Roman Emperor Rowan Hellier (mezzo-soprano)
Osroa, King of the Parthians Stuart Jackson (tenor)
Emirena, daughter of Osroa, in love with Farnaspe Ellie Laugharne (soprano)
Farnaspe, a Syrian prince, in love with Emirena Erica Eloff (soprano)
Sabina, a Roman noblewoman, engaged to Adriano Filipa van Eck (soprano)
Aquilio, a Roman tribune, in love with Sabina Nick Pritchard (tenor)
Adriano’s attendant Daniel Swan
Sabina’s lady-in-waiting Lauren Okadigbo
Emirena’s lady-in-waiting Lotte Tickner
Soldiers, Parthians, puppeteers, scene changers Leiran Gibson, Victoria Haynes, Lauren Okadigbo, Sandro Piccirilli, Lotte Tickner