Many enthusiasts of early
Victorian music will have encountered George Macfarren’s Symphonies Nos. 4 and
7 issued on CPO 999 433-2 recorded in 1997. Jonathan Woolf in his review of
this present CD (here),
laments the fact that what seemed to be the beginning of a promising symphonic cycle
was apparently stopped in its tracks. Some listeners may have had the pleasure
of hearing Macfarren’s opera Robin Hood, issued by Retrospect Opera in 2011
on NAXOS 8.660306-07. Other works by this composer recorded on CD include the overtures
She stoops to Conquer and Chevy Chase.
The Soldier’s Legacy was written at the behest of Mr. and Mrs. German Reed who had inaugurated a series of “Opera da Camera” (chamber operas). To what extent the overall project was a success is a matter of debate. Macfarren had already provided a short piece, Jessy Lea for this series. As a result of its success, he was commissioned to compose the present opera to a libretto by the English dramatist, critic and translator, John Oxenford (1812-77). It was first heard at the Royal Gallery of Illustration, Regent Street, London during October 1864.
The late Nicholas Temperley has offered a context for this opera. He wrote Macfarren was “the pioneer of English nationalism” and that The Soldier’s Legacy is “his most thoroughgoing nationalist opera.” Elaborating on this, the Retrospect Opera webpage explains that “while his British contemporaries were still, very consciously, seeking out and absorbing influences from Italian, German and French Romantic opera, Macfarren, equally consciously, sought to create a truly English style of opera inspired by folksong.” This trajectory would find fulfilment in Ralph Vaughan Williams’s Hugh the Drover and Gustav Holst’s At the Boar’s Head.
The Soldier’s Legacy has a cast of four, with a piano accompaniment. The addition of the harmonium to provide birdsong is a nice touch. I do not wish to plot spoil. However, the top line story is quite simple. The opera is set in the village of Tutbury, Staffordshire, which is a real and very attractive location. On the battlefield at Salamanca, Spain, the hero Jack Weatherall has promised his dying friend, Dick Firebrand, that he would look after the man’s child, Charlie. On return to England, he visits the village where he meets the heroine, Lotty. A subplot concerns Widow Wantley, who has set her cap at Christopher Caracole, who in turn is enamoured of his ward of court, the self-same Lotty. The happy conclusion results after the confusion of names and gender are sorted out. Everyone lived happily ever after.
Musically, there is nothing to challenge the listener. Certainly, nothing here that Mendelssohn would have blanched at. Nevertheless, one cannot help but think of the operas by Gilbert and Sullivan as this work progresses. This is a highly melodic opera, with lots of good tunes and vivacious duets, trios, and quartets. There is much wit here, although I guess that some of the humour is of its era. It is good that Respect Opera have included the spoken parts of the libretto. So often this is omitted in recordings.
The singing by all four performers is ideal. Every word, every syllable, is clearly enunciated. Despite Macfarren’s apparent repudiation of Italian coloratura singing, he gives considerable scope to Rachel Spears to indulge in these vocal gymnastics. I disagree with Jonathan Woolf in his assessment when he suggests that “Perhaps it would have been nice to have had a Tudor Davies (who recorded Hugh the Drover in 1924) for tenor, something more clarion than Joseph Doody can quite provide…” Doody gives an excellent, subtle “chamber” performance of Jack Weatherall’s “heroic” part. The deep tones of Gaynor Keeble playing Widow Wantley and the warmth of Quentin Hayes in his role as Christopher Caracole add considerable value to the charm of this opera. The pianist Jonathan Fisher does a magnificent job with the involved accompaniment. The part for harmonium, emulating birdsong, is played by Edward Dean.
The booklet includes a detailed study of The Soldier’s Legacy written by Stephen Banfield and David Chandler. It comments on the date, place, context and the opera’s reception. There are the usual brief notes about the performers. The booklet incorporates the full libretto, complete with stage directions. The CD cover features an extract from a coloured engraving of Richard Westall’s Salamanca 22nd July 1812. The entire painting is printed on the rear page of the booklet.
Retrospect Opera is a registered
charity whose aim is to “record important British operas and related musical
works of the 18th, 19th and early 20th
centuries.” Previous projects have included Ethel Smyth’s The Wreckers
and her The Boatswain’s Mate, Charles Dibdin’s The Wags and
Edward Loder’s Raymond and Agnes. Charles Villiers Stanford’s Shamus
O’Brien is currently (February 2023) being recorded. I look forward eagerly
to hearing this production.
George Macfarren (1813-87)
The Soldier’s Legacy: An Opera da Camera in Two Acts (1864)
Lotty: Rachel Spears (soprano),
Widow Wantley: Gaynor Keeble (mezzo-soprano),
Jack Weatherall: Joseph Doody (tenor),
Christopher Caracole: Quentin Hayes (baritone),
Jonathan Fisher (piano), Edward Dean (harmonium)
rec. 13-15 December 2021, St Thomas Church, Stockport, Cheshire.
Booklet includes English sung text and notes in English.
Retrospect Opera RO009
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