La finta giardiniera
‘I heard an opera buffa by that wondrous genius Mozart; it is called La ﬁnta giardiniera… He is bound to grow into one of the greatest musical composers who ever lived,’ wrote CFD Schubart in January 1775 after the premiere of Mozart’s eighth stage work – two weeks before his 19th birthday. In its musical depth, brilliant act ﬁnales, tangled love triangles, disguises, symmetries, mixed social classes and serious undercurrents La ﬁnta giardiniera displays the seeds of Mozart’s mature operatic comedies Le nozze di Figaro and Così fan tutte.
With this new production by Frederic Wake-Walker, in his Glyndebourne Festival debut, La ﬁnta giardiniera becomes the ninth and earliest entry in the company’s Mozart canon. Long known only in a revised German Singspiel version, La ﬁnta giardiniera could not be produced in its original form until long-lost score materials were recently found and reconstructed
La ﬁnta giardiniera (The False Garden-Girl) is based on Goldoni’s play Pamela nubile, itself derived from Richardson’s novel Pamela. At its heart the opera presents seven characters in search of love. Through a process of exploring themselves as much as each other, their inquiry reveals what is real and what is ‘ﬁnta’.
Christiane Karg, Aricia in Hippolyte et Aricie in Festival 2013, Joélle Harvey, Adina in L'elisir d'amore in Tour 2013 and Wolfgang Ablinger-Sperrhacke, the Dancing Master in Ariadne auf Naxos in Festival 2013, return to anchor an expert Mozartean ensemble. Glyndebourne’s new Music Director Robin Ticciati conducts the Orchestra of the Age of Enlightenment.
A new production for the 2014 Festival
Sung in Italian with English supertitles
Supported by André and Rosalie Hoffmann Dunard Fund
Edited by Gernot Gruber and Alfred Orel (Neue Mozart-Ausgabe). Published by Bärenreiter-Verlag, Kassel represented by Faber Music, London
The Podestà is in love with Sandrina, his new garden attendant, much to the chagrin of his servant Serpetta, who is in love with him. Sandrina, however, is actually the disguised Violante, who is searching for her lover Belfiore who a year ago stabbed her and fled, believing her dead. Sandrina’s companion and supposed cousin, Nardo (really her servant, Roberto), is in love with Serpetta.
Arminda, the Podestà’s niece, has spurned her admirer Ramiro for a new suitor. Sandrina is distraught to discover that Arminda’s new suitor is none other than her own errant lover Belfiore. When Belfiore arrives, he recognises Sandrina as Violante, but she refuses to admit her true identity. As Arminda senses that something is awry and fears losing Belfiore to Sandrina, Ramiro’s hopes of winning Arminda back are rekindled.
After dismissing Ramiro, Arminda confronts Belfiore about Sandrina. Nardo vainly woos Serpetta. Sandrina continues to deny that she is Violante, and goes so far as to tell Belfiore that she witnessed Violante’s death. When Ramiro arrives and accuses Belfiore of murdering
Violante, Sandrina finally admits that she is Violante. Left alone with Belfiore, she tells him that it was merely a ruse to save him, and he loses his reason.
Her marriage to Belfiore threatened, Arminda abandons Sandrina in a desolate place. Nardo discovers the plot and leads a search for Sandrina.
Confused and terrified, Sandrina also loses her reason and runs away. The search party arrives, but the darkness causes chaos. When Ramiro appears with a light, Belfiore and Sandrina find each other and imagine themselves to be Greek gods and the onlookers to be forest nymphs.
The reunited Sandrina/Violante and Belfiore awaken, their senses restored, and decide that they must never part.
Conductor Robin Ticciati
Director Frederic Wake-Walker
Designer Antony McDonald
Lighting Designer Lucy Carter
Don Anchise (Il Podestà) Wolfgang Ablinger-Sperrhacke
Sandrina (La Marchesa Violante) Christiane Karg
Arminda Nicole Heaston
Count Belﬁore Joel Prieto
Ramiro Rachel Frenkel
Serpetta Joélle Harvey
Nardo (Roberto) Gyula Orendt
'Emerges with irresistible charm'
Rated 4* by the Independent
'True love conquers all, with a touch of mirth, in Frederic Wake-Walker’s brilliantly inspired production'
Rated 4* by London Evening Standard
‘…an evening of beguiling charm'
Rated 4* by the Sunday Express
‘By the time it ended, I just wanted to see it all again. ...Glyndebourne deserve the thanks of all of us for such an unusual treat.’
Rated 4* by the Daily Express
‘In his Glyndebourne debut, Frederic Wake-Walker shows considerable flair with a meta-theatrical approach that exposes the workings of the process at every turn, from the ostentatiously visible arms of an unseen stagehand reeling in the tabs on the false proscenium to a major slice of deconstruction later in the evening.’
Rated 4* by What's on Stage
'If you haven’t seen it before, this production is the perfect first one, as it’s stylishly set and superbly sung,'
Rated 4* by MusicOMH