Remembering Georg Philipp Telemann
Consider the legacy of Georg Philipp Telemann, a close associate of Bach and Handel and godfather to Bach’s son Carl Philipp Emanuel. Despite composing over 3,000 pieces, including 29 surviving operas, Telemann’s rich and prolific output is not as celebrated as it should be. For those unfamiliar with his work, a good starting point might be his opera, Pimpinone.
Pimpinone was first staged 300 years ago in Hamburg, designed as humorous interludes during Handel’s more serious opera, Tamerlano, which lasted an exhaustive five hours. The three-act opera Pimpinone, with its straightforward storyline and humorous musical pieces, offered much-needed comedic relief to audiences, provided they remained in their seats to enjoy it.
Current Staging at the Royal Ballet and Opera
The Royal Ballet and Opera’s rendition of Pimpinone, featuring talent from its Jette Parker Artists programme, presents a piece that might seem slight but is filled with charm and touches on sexual politics that resonate with today’s societal issues.
The opera, officially titled “The Unequal Marriage Between Vespetta and Pimpinone or The Domineering Chambermaid,” humorously encapsulates its plot. In the first act, Vespetta, which translates to ‘little wasp,’ secures a position as a housemaid for Pimpinone. Despite initially planning to leave, by the second act, she agrees to marry him after he proposes. The final act sees the couple engaging in humorous disputes, ultimately leading to Pimpinone begrudgingly accepting a more liberal arrangement with Vespetta.
Directed by Sophie Gilpin and set in the 1960s, the production explores themes of equality and women’s liberation. The setting cleverly highlights these issues, with Vespetta first appearing during a party at Pimpinone’s, adorned in festive decorations that liken her to a Christmas tree— a creative touch by set and costume designer Anna Yates. Isabela Díaz shines in her role as Vespetta, her bright soprano voice enhancing her lively performance, which begins with her humorously changing into flats to ease her feet. Her journey up the social ladder, accompanied by demands for higher pay and better contracts, is met with enthusiasm from the audience.
Grisha Martirosyan plays a likable yet naive Pimpinone, complete with an outlandish fashion sense. His robust baritone voice, coupled with comedic talent, particularly shines through in his lively initial aria and later in his amusing falsetto sequences. Meanwhile, Díaz skillfully performs intricate vocal dances, although a softer delivery could have been employed at times.
The performance, conducted by Peggy Wu with musicians from the English National Opera Orchestra, delivers a lively and precise interpretation of Telemann’s work. While some quicker continuo responses and more creative embellishments could have enhanced the performance, Wu’s direction, much like Gilpin’s, successfully highlights the vibrancy of Telemann’s revived masterpiece.
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Fatima Clarke is a seasoned health reporter who bridges medical science with human stories. She writes with compassion, precision, and a drive to inform.
