(26 April 2019, Opera Settecento, St George’s Hanover Square; London Handel Festival)
It’s rare for a Baroque opera to look beyond the ancient world for its subject and rarer still for a librettist to look at Central and Eastern Europe; but Opera Settecento are brilliant at unearthing unusual pieces for us. This opera is (apparently) inspired by the life of Wenceslas II of Bohemia and Poland, though when I say ‘inspired’, I mean of course that opera and history bear no relation to one another. We can’t even blame Metastasio for this, because the libretto was written by Apostolo Zeno (I like to think that Metastasio would at least have tried to get some historical accuracy). Zeno’s tale is an identikit Baroque story of love, lust and power and, if I’m going to be perfectly honest, it never quite hangs together. Part of that is due to the plot, on which more shortly; but it’s exacerbated by the fact this is a pasticcio. Handel probably didn’t write anything except the recitatives: the rest was cobbled together from other composers – arias from other versions of Venceslao or from completely different operas – as a quick fix to keep audiences happy while he worked on his next original piece. On the bright side, there’s an awful lot of Leonardo Vinci here, which makes me very happy.