Pimpinone, an early comic opera written in 1725 by Telemann (1681-1767), the prolific composer of baroque times, opened for a short Dunedin season on Thursday, accompanied by a string quartet, with David Burchell directing from the harpsichord.
The venue of St Hilda’s Performing Arts Auditorium was acoustically excellent as the English translation related the situation of an unequal marriage between Vespetta, a domineering chambermaid who longs for a better life, played by soprano Caroline Burchell, and the wealthy bachelor Pimpinone, a role strongly interpreted by baritone Federico Freschi. Artistic director was Jenny Burchell.
The opening scene has Vespetta contemplating as she dusts and polishes before stealing a fan.
This action, set among the tiered seated audience, was static and weak, with the voice projecting to the back wall.
Neither could it be seen by most of the audience without turning around.
The cast of two in this production were unequally matched in terms of both vocal quality and dramatic intent.
Burchell’s constant facial expressions and body language and repetitive gesturing were small compensation for her lack of clear diction, precise intonation and vocal diversity.
The endless baroque da capo arias required deeper dramatic interpretation, and tended to become boring and predictable.
Dramatic action when Vespetta asserts her dominance over the disillusioned bachelor was well presented.
Freschi is an experienced international performer, and a highlight was Pimpinone’s aria in the third act, when he mimicked the gossiping neighbours — "I know how they gossip, I know what they say!".
Costumes were in keeping with the times (loved the hats) but were unchanged as the plot unfolded through three acts.
The string players, Tessa Petersen, Ngaruaroha Martin (violins), Katrina Sharples (viola) and Ellen Walters (cello), worked hard, maintaining forward movement, with regular pulsating contrapuntal textures.
Little Box of Operas has two performances of Pimpinone this weekend.
By Elizabeth Bouman
