Based on a libretto by Metastasio already turned into music by more than a hundred composers, this version of Johann Adolph Hasse’s Artaserse comes from the other side of the world. In Sydney, in 2002, Australian conductor and harpsichordist Erin Helyard created the Pinchgut Opera (named after an old prison nearby) and its well-named Orchestra of the Antipodes. The musical ensemble performs operas from the Seventeenth and Eighteenth century. The musicians play with period instruments and their performances could be described as “historically informed.”
In 2019, the orchestra’s production of Hasse’s Artaserse won the International Opera Award in London. It is the first time that particular award was given to an Australian institution. The album is a recording of these performances, an odd opera without any soprano or ensembles, with the exception of a duet and of the final choral piece. Nevertheless, it is still typical of the operas of that time with its long recitatives, its (repeated) aria da capo and a fairly simple plot revolving around conspiracy, betrayal, and light love stories.
Artaserse first opened in 1730 at the Teatro San Giovanni Grisostomo (today, Teatro Malibran) in Venice. The opera was performed by the famous castrato Farinelli, who, at 25 years-old, played the part of Arbace. Artaserse was a huge success. It launched Hasse’s career and made his wife, singer Faustina Bordoni, a Venetian star thus driving Vivaldi, who could feel his popularity getting weaker, to despair. In 1734, the opera was performed in a short and “pasticcio” version at London’s Haymarket where Farinelli, who was performing in London for the first time, sang ten out of the twenty-nine songs. In Sydney, Eran Helyard revives the 1730 version with American mezzo-soprano Vivica Genaux as the star. She is surrounded by a top-notch cast while Eran Helyard conducts with precision and liveliness. © François Hudry/Qobuz