Soprano - Elizabeth Mandeno
Bass - Edward Smith
Tenor - Jeandre Le Roux
Organist - Douglas Mews
Get ready to be transported to a world of celestial beauty and divine wonder as the soaring melodies and majestic choruses of Haydn's Creation come to life in our upcoming performance that promises to be an unforgettable musical experience like no other.
Under the baton of Chalium Poppy, The Edgecumbe Choir and guest soloists will join forces to bring to life the epic story of the creation of the world, as told through Haydn's masterful composition. From the stirring depiction of chaos at the beginning of time to the jubilant praise of the newly created world, every note and every phrase will resonate with passion, power, and profound emotion.
As the music swells and the voices of the choir soar, you will be swept away on a journey through the seven days of creation, accompanied by the ethereal voices of choir and soloists weaving a tapestry of sound that captures the awe and wonder of the natural world coming into being.
In this thrilling performance of Haydn's Creation prepare to experience a musical masterpiece that transcends time and space, inviting you to contemplate the beauty and majesty of the universe and the eternal mysteries of creation. From the tender lyricism of the arias to the thundering grandeur of the choruses, this performance promises to be a transcendent musical experience that will leave you breathless, inspired, and deeply moved.
Don't miss this opportunity to experience the magic of Haydn's Creation brought to life on stage in a performance that will ignite your imagination, stir your soul, and leave you in awe of the power of music to uplift, inspire, and transform. Get ready to be swept away on a journey of creation and discovery that will stay with you long after the final note has sounded. - Chalium Poppy, Musical Director
Questions and answers with our Musical Director Chalium Poppy
Where was Creation premiered, and how was received at the time? Can you speak to the enduring popularity timeline of the work?
Unlike most works which can only ever premiere once, Haydn enjoyed the unique privilege of holding two premieres of Creation - one for German speaking audiences, and another for the English.
Creation’s German-language premiere was on April 30, 1798, at the old Burgtheater in Vienna, Austria. The performance was by all accounts a grand event, attended by a highly distinguished audience that included members of the aristocracy, music enthusiasts, and even music critics.
The English version of Haydn's oratorio premiered in London on March 28, 1800. The performance took place at the Covent Garden Theatre (now the Royal Opera House) and was conducted by the renowned composer and conductor Johann Peter Salomon.
The reaction to both premieres was overwhelmingly positive, with the audiences and critics alike praising the work as a masterpiece of musical composition. The oratorio was lauded for its innovative use of orchestration, expressive melodies, and vivid storytelling, as well as its profound spiritual message and emotional depth.
One particularly memorable moment for many during the premiere was the depiction of the chaos at the beginning of time in the opening orchestral introduction. Haydn's evocative music vividly captured the sense of formlessness and darkness before the creation of the world, drawing the audience into the dramatic narrative of the piece.
The premiere of Creation was a resounding success, solidifying Haydn's reputation as one of the greatest composers of his time and immediately establishing the oratorio as a timeless masterpiece that continues to captivate audiences to this day.
What was the historical and social background in England at the time Haydn premiered Creation in London; and in that context, what were Haydn's personal and musical circumstances?
At the time of the London premiere, England was experiencing a period of great social and cultural change. The country was in the midst of the Industrial Revolution, which brought about significant advancements in technology, industry, and infrastructure. The economy was booming, and London was a thriving centre of commerce, culture, and innovation.
In terms of music and the arts, England was a vibrant and cosmopolitan hub, with a growing interest in classical music and opera. The English aristocracy and upper classes were patrons of the arts, and there was a flourishing music scene in London, with numerous concert venues, opera houses, and musical societies.
Against this backdrop, Haydn's visit to London and the premiere of Creation was a highly anticipated event. Haydn, who was already a celebrated composer in Europe, was welcomed with great enthusiasm and admiration by the English musical establishment. His visit to England was part of a series of concerts organised by the impresario Johann Peter Salomon, and it marked a significant moment in the cultural life of London.
From a personal and musical perspective, Haydn's visit to London was a major milestone in his career. At the time of the premiere, Haydn was in his late sixties and had already established himself as one of the leading composers of the classical period. The success of Creation in London further cemented his reputation as a musical genius and brought him further international acclaim.
Haydn's personal circumstances during his visit to London were also significant. He was treated as a celebrity and received widespread recognition and adulation from audiences and fellow musicians. By all contemporary accounts, the premiere marked a triumphant moment in Haydn’s life. He had poured his heart and soul into composing the oratorio and was rewarded with a reception that was both enthusiastic and heartfelt.
How many oratorios he did compose before & after Creation? Is Creation considered his best oratorio?
Haydn came to the oratorio form late in life. Much of his professional adult life was spent in servitude to the Esterhazy princes at their ancestral palace, Eisenstadt. While in their employ he would have been required to write for the musical forces available to him. These would have been largely instrumental players also in the employ of the princely family and Haydn’s time would have been consumed with producing vast amounts of symphonies, quartets, concerti, and other chamber works for various occasions of significance. The Esterhazy princes only kept a small choir in their chapel so Haydn’s choral output up to this point would have been very small and limited to strictly liturgical music for the Mass.
When Haydn was finally granted leave from Eisenstadt to travel and premiere his music abroad, he was an old man. While in London he came into contact with the oratorios of Handel which were still being performed. It was after a performance of one of these oratorios in Westminster Abbey that he was convinced to try his own hand at the form.
Following Creation, Haydn only ever wrote one other oratorio - Die Jahreszeiten (The Seasons). Like Creation it’s an extremely clever and inventive work but is largely impractical for modern performances. The work is considered by many to be simply too long.
So almost by default, Creation is considered the best of his two oratorios.
Is it known if Haydn himself was happy or satisfied with this work?
Haydn was indeed very happy with this monumental oratorio. In fact, Haydn considered Creation to be one of his greatest works and a crowning achievement in his musical career. The oratorio was a deeply personal and spiritual work for Haydn, who drew inspiration from his faith and his reverence for the beauty and wonder of the natural world.
Haydn's happiness with Creation was evident in his own words and actions. He expressed great satisfaction with the music and text of the oratorio, praising the librettist Gottfried van Swieten for his poetic adaptation of the biblical creation story. Haydn's meticulous attention to detail and his dedication to achieving musical excellence are reflected in the intricate counterpoint, expressive melodies, and vivid orchestration of the work.
Throughout the remainder of his life, Haydn continued to hold Creation in high esteem, considering it a testament to his creativity, craftsmanship, and spiritual beliefs.
Who wrote the libretto for Creation and what were the literary sources?
The libretto for Creation was written by the Austrian diplomat and librettist Gottfried van Swieten. Van Swieten was a close friend and collaborator of Haydn, and he played a crucial role in shaping the text to fit the composer's musical vision.
For the libretto van Swieten drew inspiration from various sources, including the Book of Genesis from the Bible, as well as the English poet John Milton's epic poem Paradise Lost. Van Swieten's adaptation of the biblical creation story and Milton's poetic imagery provided the thematic and narrative framework for the oratorio, allowing Haydn to create a vivid and evocative musical depiction of the seven days of creation.
Van Swieten's skillful use of language and his deep understanding of both biblical texts and literary sources helped to shape the libretto of Creation into a rich and expressive text that resonated with audiences and complemented Haydn's music beautifully. His poetic adaptation of the creation story, with its vivid imagery, theological depth, and spiritual themes, provided the perfect foundation for Haydn to create a work of profound beauty and emotional power.
The English translation of was prepared by the Scottish music publisher and writer, William Ball, also known as William Ball Wright. Ball's English translation of the libretto was commissioned for the London premiere, and it aimed to capture the poetic beauty and spiritual depth of the original German text written by Gottfried van Swieten.
William Ball's translation of the libretto was well-received by audiences and critics in England, as it successfully conveyed the vivid imagery, theological themes, and emotional nuances of the oratorio. Ball's skilful use of language and his understanding of both the musical and textual aspects of the work helped to bring the English version of Creation to life, allowing English-speaking audiences to fully appreciate the beauty and power of Haydn's music. His contribution to the London premiere of Creation helped to solidify the oratorio's popularity and lasting legacy in the English-speaking world.
