The Aristocracy and Opera: A Musical Rivalry
In London's National Portrait Gallery, a painting by Philip Mercier depicts a concert in Kew Gardens around 1733. It shows aristocratic music lovers: Frederick Louis at the cello, Anne at the harpsichord, and Princess Caroline Elizabeth playing the mandolin, while Princess Amelia listens intently.
Frederick, Prince of Wales, was not only an enthusiastic musician but also a patron of the Opera of the Nobility. A surviving letter from the famous castrato Farinelli documents their friendly and musical connection.
The Prince and Farinelli's musical sessions could last for hours, possibly including the performance of cantatas by Nicola Porpora. These compositions are considered a successful fusion of intimate chamber music and magnificent operatic singing.
The authors of the cantata texts remain unknown. The esteemed poet Metastasio may have been involved, although he initially attached little importance to such works.
The cantatas attributed to Porpora impress with their poetic value. Their interpretation demands less virtuosic vocal acrobatics from the singer than sophisticated breath control and elegant ornamentation.
The accompaniment by cello and harpsichord creates a unique soundscape. The ninth cantata, with its dramatic elements from opera seria, is considered a highlight.
If additional instruments such as violin or oboe were added, the pastoral character of these works would be even more pronounced. Porpora utilizes musical versatility to set the texts to music with great expressiveness.