Hidden treasures - Felix Mendelssohn - Die Hochzeit des Camacho (1825/1827) - Selected highlights

Felix Mendelssohn, blessed by the presence of a musical and supportive family and enough inspiration to preclude any kind of compositional difficulties, is a happy example of a composer manifesting great talent at a tender age (only Mozart and Rossini showed comparable promise): as early as 1820 (when the musician was barely twelve years old) he began composing in what is probably the most difficult of all musical styles - opera. Buoyed by his first operatic successes (all of these early pieces were performed exclusively in the confines of the Mendelssohn family circle), in 1824 Mendelssohn began writing "Die Hochzeit des Camacho" ("The marriage of Camacho") which was to become his first true large scale theatrical work. The opera proved to be a quite difficult project for the young boy: the desire to write a worthwhile piece and the constant traveling were only some of the reasons behind the relatively prolonged period of composition, as the opera was officially finished only in August, 1825. Despite the considerable following delay and the opposition of Spontini who was the first to analyze the work which he found unremarkable, the opera was placed in rehearsal at the beginning of 1827, finally being performed at the Hofoper on the 29th of April, 1827. Intrigues against the work, the illness of a principal singer and the weakness of the libretto, however, mitigated against its success, and it was withdrawn after only one performance, Mendelssohn's only opera to reach the public stage. The experience proved particularly painful for the young composer and soured Mendelssohn towards both opera and journalism.

The narrative, loosely based on an episode from Cervante's "Don Quixote", is potent enough, though it does not provide the composer with a clear structure: Carrasco (bass) intends Quiteria (soprano), against her will, to marry the rich Camacho (tenor). Basilio (tenor), Quiteria's true love, enlists Lucinda (mezzo-soprano) and Vivaldo (tenor) to assist him in securing the failure of the wedding. Don Quixote (bass) and Sancho Panza (bass) are invited to the wedding celebrations and provide the necessary comic relief, if nothing else in particular. Eventually Basilio pretends to stab himself and begs to marry Quiteria so that he can die happy. On Basilio's instant recovery after the ceremony, Camacho admits defeat and all ends happily. The problem is, of course, the lack of a truly endearing conflict that might be of any kind of interest to the audience, as the lovers' troubles are mitigated without any notable difficulties (in fact, the final "dying" scheme could have been easily contained within a long one act opera).

The music to "Camacho" proves just how carefully Mendelssohn had studied the operas of Carl Maria von Weber and Mozart: indeed, the overture, continuously playing through a particularly winning leitmotiv, is somewhat similar to the one Mozart wrote for "Le nozze di Figaro", while the arias, romantically charged and yet managing to incorporate seemingly popular motives, are very much in the style of the composer's contemporary. To be completely honest, much of the criticism concerning the final edition of the work is somewhat justified. It is undeniable that Mendelssohn, lacking in theatrical experience, does not allow the drama to dictate the structure of individual numbers which creates a certain lack of concentration: thus, Act II includes an overlong, unneeded and lacking in music terzet for the women and Sancho Panza, of all people, detailing Quiteria's torment, though Act I already presents us with a reasonably well-defined love line. And yet, I cannot say that I experienced anything but delight when listening to this youthful work. The charm and melodic ease of Mendelssohn's music is just as undeniable as is the dramatic ineffectiveness of the libretto. In particular, a heartbreaking soprano lament, a lovely tenor aria which beautifully begins the Act I finale, a featherlight bolero, some wonderful choral work are more than ample reasons to introduce oneself to the entire opera. Indeed, the whole work is dominated by fresh ideas and strong writing: even the sparsely characterized Vivaldo and Lucinda are introduced by a duettino incorporating sudden winds surges, a proper way to show off their playfulness. It is truly a pity that Mendelssohn did not decide to produce any other stage works.

The present recording is surprisingly good, boasting three good lyric tenors, a light, almost vibrato-less soprano, as well as three accomplished basses and a gentle mezzo-soprano, and reasonable conducting from Jos van Ihnmerseel leading the very responsive Anima Eterna Orchestra.

Rosmarie Hofmann - Quiteria,
Andrea Ulbrich - Lucinda,
Scot Weir - Basilio,
How Rhys-Evans - Vivaldo,
Nico van der Meel - Camacho,
Waldemar Wild - Carrasco,
Urban Mahnberg - Sancho Panza,
Ulrik Cold - Don Quixote,
Aachen Youth Choir & Modus Novus Choir.

Hope you'll enjoy :).

Category:

Music

Tags:

• belcanto
• romantism
• music
• classical
• coloratura
• Mendelssohn

[qw3rtydud3]

I'm singing the tenor part (Vivaldo) for the Act I duet soon, it's much faster than I speculated..lovely music

[Badergader]

he wrote this when he was 16

[runupahill1]

Thank you, LindoroRossini. I am learning and enjoying so much.

[Hjadlowker]

Thank you so much! I've always felt curiosity about this rarity, and haven't the least opportunity of listening to it at all. I wish the excerpts were a bit longer, but I thank you all the same.

[jackpoint188]

Thank you for selections from this rarely heard opera. My favourites are the ouverture and the finales to each act, very dramatic.