Il Sassone: A Domestic Opera – False Consonance

In the 18th-century London social milieu, attending opera emerged as a significant facet of aristocratic life, particularly during the opera season, when London’s upper echelon would frequent theaters several nights a week. Beyond the operatic season, though, the absence of sound recordings posed a challenge for music enthusiasts seeking to relish their favored arias. Publishers seized this opportunity by offering sheet music of popular arias: these arrangements, scored for reduced instrumentation suitable for domestic music-making, allowed opera enthusiasts to recreate the melodic allure within the confines of their homes.
John Walsh’s extensive multi-volume collection, “Sonatas or Chamber Aires,” stands as a prime example of this trend, amassing celebrated songs and arias from Mr. Handel’s operas. Reviving this tradition, ensemble False Consonance aims to elevate the status of historical arrangements by positioning them as a serious musical endeavour. The ensemble assembles pieces from Handel’s diverse operas, organizing them around conventional 18th-century opera seria scenes, such as the lament, love duet, or revenge aria. Although devoid of textual components, the instrumental amalgamation evokes a sense of dramatic intensity akin to a miniature opera. By discarding vocal content, the composer, Handel, emerges as the central focus, portraying a titular role in the production, which is aptly called “Il Sassone,” a nickname bestowed upon Handel during his Italian sojourn.