German
born, Mayr was studying in Italy when his patron died.
Faced with an uncertain future the composer Niccolo Pacini
encouraged him to write opera. Mayr’s first opera,
Saffo (1794)
attracted other commissions with his
Ginevra di Scozia premiered
in Trieste (1801) making him known throughout Italy. Subsequently
Mayr wrote operas for Naples, Rome, Milan and Venice. His
works were also performed in Germany, London, St. Petersburg
and New York among other places. In all Mayr wrote over
sixty operatic works, many in the buffo style. Significantly
he brought more vividness and orchestral detail to opera
buffa, with depictions of storms, earthquakes and the like
as well as complex choral scenes. These built on and extended
the compositional style of Domenico
Cimarosa (1749 –1801) and Giovanni Paisiello (1740-1816)
with Mayr’s influence being readily heard in the operas
of both Rossini and Donizetti.
As
well as composition of operas, Mayr found fame as a composer
of church music and as author of a treatise on Haydn. He
also founded a Conservatory in Bergamo where his students
included Donizetti whom he taught, without charge, for
ten years. Mayr also paid for Donizetti’s study with Padre
Mattei, a renowned teacher of counterpoint. He later ceded
commissions to his pupil that helped his career to take
off. Mayr’s most famous work is his
Medea in Corinto (1813).
He eventually went blind. Verdi, recognising his influence
on Italian music, perhaps even his own, attended his funeral.
It
was in the papers of Verdi’s estate, only recently opened
to scholars, that a copy of the score of Mayr’s
Fedra was
discovered. The opera, premiered at La Scala in 1830, is
based on Racine’s play derived from the Greek myth concerning
Fedra the second wife of King Theseus. Fedra becomes infatuated
with her stepson during the king’s absence and later commits
suicide after accusing the stepson of having seduced her.
The rather fractured synopsis in the booklet further complicates
the story by using the names from the play rather than
those in the opera. The libretto is given in full in Italian
but without any translations. A sensible track-related
synopsis using the opera’s named characters would have
been a huge benefit to my overall enjoyment of Mayr’s music
and this strong live performance.
The
discovery of the score and Ricordi’s subsequent publication
caused the Braunschweig State Opera to change their schedule
in order to stage the work in 2008, its first ever performance
in Germany. In the name part Capuine Chiaudani sings the
role with vocal warmth and a wide range of expression if
not always being ideally steady. Very much in the
bel
canto mode is the flexible light soprano of Rebecca
Nelson in the trouser role of Ippolito. She gives an all-round
satisfactory feel to the solo singing (CD 1 tr.7. CD 2
tr.10). Tomasz Zagorski is a strongly sung Teseo with the
hallmarks of a bel-cantoist in his vocal strength and range
as well as in recitative (CD 2 trs.12-13). As Teramene,
Dae-Bum Lee’s bass is strong and smooth (CD 1 tr.3). On
the rostrum Gerd Schaller handles
the ensembles and recitative with a felicitous touch. He
keeps the plot moving along yet allows for the enjoyment
of Mayr’s melodies and dramatic touch. The chorus sing
with commitment and vibrancy. There
are a few stage noises.
Mayr,
aged 57 at the time of the writing of
Fedra was
at his compositional peak, with imaginative use of woodwind
and complex ensemble as in the quartet that concludes act
1 (CD 1 trs 13-14). The music for the singers is very much
in the
bel canto style with more dramatic impulse
and demand than found among many of Mayr’s contemporaries
or, indeed, some who followed. His imaginative user of
the instruments of the orchestra was doubtless a model
for his pupil Donizetti, who by the time of the composition
of
Fedra had still to make his mark with
Zoraida
Di Granata (see
review).
As
far as I am aware other of Mayr’s operas featuring on records
are restricted to
Ginevra di Scozia and
Medea
in Corinto both issued by Opera Rara, ORC 23 and ORC
11, each on three CDs. The former was recorded at a revival
at Trieste to commemorate the two hundredth anniversary
of the premiere and features Elizabeth Vidal and Daniella
Barcelona among the principals. The latter has the spinto
soprano Jane Eaglen alongside Opera Rara regulars Yvonne
Kenny, Bruce Ford and Alastair Miles as well as the Rossini
specialist Raul Gimenez. In 2008 Opera Rara also issued
a CD titled
Mayr Rediscovered (ORR 244) involving
excerpts from eight of his operatic works including the
two mentioned as well as
Fedra. Those issues benefit
greatly from the full librettos and translations as well
as the historical background, synopses and scholarly essays
by Jeremy Commons, who is referred to in the notes with
this issue. The background information with this issue
mentions the Milan premiere, and its cast and reception,
as well as the staging at Braunschweig
from which this welcome recording derives.
Robert J Farr