In the summer of 1771, Mozart wrote a serenata or azione teatrale in honour of Sigismund von Schrattenbach, his prince-archbishop and employer, for use in the celebrations of a forthcoming anniversary. But Schrattenbach died before the anniversary arrived. What, then, more appropriate than to adapt the piece for the celebrations on the enthronement of his successor, Hieronymus von Colloredo? That, it seems, is what Mozart did – and the adaptation involved nothing more complicated than changing the name ‘Sigismondo’ to ‘Girolamo’ in the recitative preceding the final aria, which was a tribute (‘licenza’) to the dedicatee; he also chose to rewrite that aria. In this, the patron is compared in his virtue and honour to Scipio, the hero of the foregoing drama, who is seen in a dream making the choice between Fortune and Constancy, with guidance from his father-figures Publio and Emilio.
The work, a setting of words by Metastasio, after Cicero, has no strong drama such as that in Mozart’s earliest serious operas, Mitridate and Lucio Silla, nor would that have been appropriate – but it drew from him fluently written, spacious arias, with generous helpings of what he later called ‘noodles’ (rapid bravura passages). Here the role of Scipio is particularly appealingly sung by Bruce Ford, with graceful and shapely lines and nicely shaded tone, with a hint of the heroic in the resolute final aria when he has made his choice. Publio, aptly, is more firmly, more weightily sung, by Charles Workman, and Jeremy Ovenden finds a suitably gentle, more tender vein for Emilio, Scipio’s true father, almost caressing his semiquaver passagework.
Lisa Larsson is spirited and light in the music for Fortuna, with beautifully clear articulation in the noodly bits, and she phrases her second aria affectionately. As her rival, Malin Hartelius, if less characterful, is strong and clear, sturdy in the semiquaver passages, perhaps a little strained once or twice over intonation. The two licenza arias – Mozart made a new and richer setting for Colloredo (both are included here) – are neatly sung by Christine Brandes with a hint of voluptuous tone in the new version.
Gottfried von der Goltz – whom I heard conduct the Freiburg orchestra, a period-instrument group, in the work in Salzburg earlier this year, also with Ford – generally has a good feel for Mozart’s tempos (although Publio’s second aria is rushed, and Scipio’s final deliberations are ponderous) and especially for his orchestral colours. The inner detail is happily clear. Sometimes he ‘snaps’ what should surely be appoggiaturas. The recitatives are taken at a measured pace, which sometimes gives them more weight than is really appropriate and also allows his frivolously light-fingered harpsichordist space to add all kinds of exhibitionistic flourishes that are quite out of place. Short, punctuating chords would be more to the point.
This is, however, a very assured and capable performance. But if you have the older, Philips version, under Hager, don’t be in too much of a hurry to replace it with the new one, for there are no singers here of the calibre of Schreier, Gruberova or Popp, and furthermore the Hager recording is still available