Adriano in Siria, Britten Theatre, review: The ‘London’ Bach opera was last performed 250 years ago

The artistry is evident in a piece thought to have inspired Mozart

Adriano in Siria

The vaults of Baroque opera continue to yield up their treasures: this time a work by Johann Christian Bach which was last staged 250 years ago.

Better known as the ‘London’ Bach, he followed in Handel’s footsteps, produced his works in the same theatre, and like Handel put down roots here. But Ian Page and his Classical Opera Company are presenting it as part of their Mozart 250 project, and for good reason.

The boy Mozart met Bach, and in all probability saw this opera with his father in 1764; in it you can hear pre-echoes of the operas Mozart himself would go on to write twenty years later.

Metastasio’s libretto, charmingly fleshed out in Thomas Guthrie’s production, is a rudimentary affair dealing with love, jealousy, betrayal, and forgiveness, but the music was designed to showcase the talents of two of the best castrati of the day.

And with the brilliant South African soprano Erica Eloff taking the more demanding of those roles, we get a clear idea of the artistry which must have been involved.

There’s no weak link in this young cast: mezzo Rowan Hellier deals ably with the other castrato role, while sopranos Elli Laugharne and Filipa van Eck offer vibrantly contrasting styles, and tenor Stuart Jackson – a rising star – sings with his usual effortless grace.