Classical Music

Classical Music

Classical Music

Classical Music

After finishing the chorus ‘How dark, O Lord, are thy decrees’ in February 1751, Handel noted in the autograph score that he couldn’t continue his work on Jephtha because of eye problems. Later in the year, he regained his eyesight and was able to complete the work in the autumn. The problems returned however, and in January 1753 a London newspaper reported that ‘Mr Handel has at length, unhappily, quite lost his sight’. Jephtha was thus to become Handel's last oratorio, and indeed his last major work. It is nevertheless no less a masterpiece than his earlier works, and contains some of his noblest music.

The plot of this ‘Sacred Drama’ is loosely based on the story of Jephtha in the Old Testament: a father who in order to win the the Israelites’ struggle against the Ammonites makes a rash promise to God, and after his victory is compelled to sacrifice his own daughter. The situation gives rise to music of touching poignancy, as well as great choral set-pieces.

This rousing live performance, recorded in 2008 in the Stavanger Concert Hall, boasts a roster of soloists headed by the fine British tenor James Gilchrist as Jephtha, as well as the eminent Belgian choir Collegium Vocale Gent, all backed up by the Stavanger Symphony Orchestra. At the helm of these large forces is Fabio Biondi, the Baroque violinist and conductor who since 2005 has been artistic director of the Stavanger orchestra in the baroque and classical repertoires.

Classical Music

Import Hybrid-SACD pressing.

Classical Music

Import Hybrid-SACD pressing.

Classical Music

Classical Music

This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.

Classical Music

Emma Kirkby always has been an excellent Handel singer, from her two 1985 recordings--Italian Cantatas with Christopher Hogwood and the Academy of Ancient Music (L'Oiseau Lyre) and German Arias with Charles Medlam and the London Baroque (EMI)--and 1987's Aci, Galatea e Polifemo, again with the London Baroque (Harmonia Mundi) to this new, exemplary program of Latin motets. Kirkby, now in her early 50s, retains a remarkably youthful sound, exhibiting all of her admired agility and intonational accuracy, but with more richness in the lower register than in her younger days. Her upper notes also have more body and warmth than ever--gone is the tendency to screech on the quickest, highest pitches. Interpretively she commands a range that includes graceful swinging dance (the first movement of the Laudate pueri), lyrical prayerfulness (Largo and Adagio opening of the Salve Regina), and just full-out, uncompromising virtuosity (the Alleluja ending of O qualis de caeli sonus; the recitative third section of Laudate pueri). Kirkby also offers some wonderfully subtle expressive effects that show off her full powers of vocal control (the first syllable of "seculum" at the end of the second section of Laudate pueri) while making the music and her performance even more memorable.


Of course, Handel gives Kirkby some lovely music to sing--some of his finest melodies and exciting vocal challenges--and she seems to relish every moment. The "orchestra"--two violins, cello (played by conductor Charles Medlam), and organ--adds some memorable moments of its own via a trio sonata (with one of Handel's more irresistible slow movements) that comes in the middle of the program, but these players really shine in their accompanying role, always in complete interpretive sync with the singer. The sound leaves nothing to be desired--ideally balanced, clear, natural voice and instruments in a well-mannered, complementary acoustic.
--David Vernier, ClassicsToday.com

Handel' oratorio Semele was composed in 1743 and tells of a beautiful mortal, whose short but spectacular love affair with Jupiter. King of the Gods, comes to a terrifying end in consequence of both her own vanity and the scheming of Jupiter' insanely.