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In the year after his Grabmusik was composed, Mozart continued the experimentation with composing for levitra 20 mg 4 tablet the operatic stage begun with Apollo et Hyacinthus with a small-scaled work for voices intended to parody Jean-Jacques Rousseau’s 1752 intermède Le devin du village, one of the most successful operatic pieces of its decade. One of Mozart’s earliest biographers, his widow’s second husband, speculated but could not substantiate that Bastien und Bastienne (K. 50/46b) was first performed by forces funded by the renowned German doctor Franz Friedrich Anton Mesmer at his palatial residence in Vienna and may also have been commissioned by him. (Regardless of the discord that it inspired, later lampooned by Mozart in Così fan tutte, Mesmer’s concept of animal magnetism was clearly a profitable postulation.) Corroborating assertions concerning events conjectured to have transpired a quarter-millennium ago is difficult under the best of circumstances, but reconstructing the chronology of Bastien’s genesis was aided by the Twentieth-Century rediscovery of the autograph score, which affirmed details of the work’s initial composition and later revision. However Mesmer was involved with its creation, The Mozartists definitively show Bastien und Bastienne to be an endearingly hypnotic example of the young Mozart’s ingenuity.

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Though uniformly well-intentioned and thoroughly musical, previous recorded performances have tended to treat Bastien und Bastienne as a museum piece rather than a viable work for the stage. After all, how theatrically savvy could a twelve-year-old boy possibly have been? As in all of his Mozart recordings to date, Page focuses solely on performing the music as the score dictates and leaves answering questions about the piece’s dramatic effectiveness to the listener. The first performance of Bastien und Bastienne that can be conclusively verified took place in Berlin in 1890, but so revelatory is The Mozartists’ animated account of the score that it might be the world-première performance. ‘…precisely the kind of lovers’ quarrel and reconciliation that would now be conducted via text message’: Alessandro Fisher and Anna Lucia Richter in the feisty duet ‘Geh!

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geh, Herz von Flandem!’ from Bastien und Bastienne, with The Mozartists as conducted by Ian Page The sincerity exuded by Anna Lucia Richter’s singing as Der Engel in Grabmusik gives her portrayal of Bastienne a palpable charisma, evident in every note of her performance but particularly in “Er war mir sonst treu und ergeben.” Tenor Alessandro Fisher’s ardent, euphoniously-sung Bastien is a worthy partner, the character’s fickleness notwithstanding. Fisher wholly avoids the temptation to approach Bastien as a Tamino in training, instead singing the rôle on its own terms. His voicing of “Meiner Liebsten schöne Wangen” is a perfect expression of hormonally-charged young love, and he joins with Richter in a feisty “Geh! geh, Herz von Flandem!” that in their performance is precisely the kind of lovers’ quarrel and reconciliation that would now be conducted via text message. Colas, the mediating force in Bastien und Bastienne, is brought to life with astute theatrical instincts and resonant vocalism by bass-baritone Darren Jeffery. happen several times a year.

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