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George Frideric Handel's oratorio Theodora, in it's first-ever staged version at Slazburg Festival, was among the highlights of Handel Year 2009. Acclaimed director Christoph Loy presented Theodora as the profoundly moving tale of a woman who prefers death to denying her faith, an interpretation captivated with bravura by world-renowned video director Hannes Rossacher. A luminous Christine Schaefer and countertenor Bejun Mehta formed a perfect leading couple altoghether suited to conductor Ivor Bolton's vigorous reading. “With Christine Schaefer, Salzburg has found an ideal singer for the title role.” (Süddeutsche Zeitung)

Theodora – Christine Schäfer
Didymus – Bejun Mehta
Septimius – Joseph Kaiser
Valens – Johannes Martin Kränzle
Irene – Bernarda Fink
Messenger – Ryland Davies

Salzburger Bachchor
(chorus master: Alois Glaßner)
Freiburger Barockorchester
Ivor Bolton, conductor
Christof Loy, stage director

Recorded live at the Salzburg Festival 2009

Picture format: 1080p High-Definition
Sound format: PCM Stereo / DTS 5.1
Region code: 0 (worldwide)
Subtitles: English, German, French, Spanish
Booklet notes: English, German, French
Running time: 189 mins
No. of Discs: 1 (BD 50)

This is a reissue of a performance originally released on Deutsche Harmonia Mundi in Europe, one of the label’s final offerings before it was dissolved in 2008, and an import rarity that found little distribution in what was left of record retail in the US at the time. It was a shame because the recording features truly great performances in glorious, audiophile-quality sound of some of Handel’s most important and beloved orchestral works. Thankfully, Arcana has chosen to make it available once again.

For years my two longstanding reference recordings of this–the later, grander 1749 revision of the Royal Fireworks Music–were performances by Jordi Savall directing Le Concert des Nations (Astrée, now AliaVox) and Trevor Pinnock with the English Concert (DG Archiv), and I enjoyed both for different reasons. Much had to do with the tempo choices. Savall’s broader, more gracious approach–a 23-minute performance–provided a nice contrast to Pinnock’s more uptempo, often thrilling 18-minute run. At 21-plus minutes Zefiro’s performance strikes me as a “just right” middle course.

In my reference recordings I also appreciated how the relatively more spacious sound engineering of Savall’s recording complemented his performance, and how in a similar way the thinner, somewhat more detailed acoustic afforded to Pinnock complemented his. The DHM engineers astonishingly provide Zefiro with the best of both approaches in creating the illusion of a rich array of life-like instrumentation set in a convincingly wide, open-air soundstage. Savall enters the work without fanfare while Pinnock begins with a brief, celebratory drum roll. Zefiro ups Pinnock’s ante, opening the festivities with an opulent, elongated percussive roll, joined at the last moment by harpsichord and strings, in effect heightening the grandeur of the following, spectacular overture by the full orchestra. Perfect!

Zefiro’s performances of the three Concerti a due cori compare very favorably with Christopher Hogwood and the Academy of Ancient Music’s reference versions (L’Oiseau-Lyre, now Decca). Timings, the way the movements are shaped, and the dynamics are nearly identical, though again, Zefiro benefits from noticeably superior sound. The definition of the strings, and especially the brass, far surpasses what was possible with digital recording more than 30 years ago.

Mary Pardoe’s engaging notes, loaded with fascinating quotes and anecdotes, thankfully have been retained for this reissue. Arcana’s packaging and presentation, as usual, are second to none. Don’t miss this!

-- John Greene, ClassicsToday.com

HANDEL: Messiah

Messiah was written with Handel's usual speed in 1741 for performance in Dublin, some of it rehearsed briefly by inadequate singers in Chester, as he made his way to Holyhead to embark for the voyage. The first performance was given at the New Music Hall in Fish-amble Street, Dublin, on 13th April, 1742, in aid of charity. The first London performance took place in Lent 1743 at Covent Garden, but the work failed to please, in part because of reservations that some held about the suitability of such a sacred subject for a theatre. Messiah only achieved it's lasting success after performances in 1750 in aid of the Foundling Hospital, established ten years earlier by Captain Thomas Coram. At his death in 1759 Handel left a fair copy of the score and all parts to the Hospital, an institution that continued to benefit from annual performances of the work. The Scholars Baroque Ensemble: The scholars Baroque Ensemble was founded in 1987 by David van Asch with the idea of complementing the "a-capella" work of the vocal ensemble The Scholars. This group, consisting also of the soprano Kym Amps, counter tenor Angus Davidson and tenor Robin Doveton, has had worldwide success during the last twenty years. The members of THE Scholars Baroque Ensemble are all specialists in the field of Baroque music and play original instruments (or copies) using contemporary techniques, singers and players work together without a director to produce their own versions of great masterpieces such as the St. John Passion by Bach, the 1610 Vespers by Monteverdi, Dido and Aeneas and The Fairy Queen by Purcell, the Messiah and Acis and Galatea by Handel, all of which are being released by Naxos. Concert performances by the ensemble have been highly praised by critics and audiences alike.

George Frideric Handel, one of the giants of the Baroque, is primarily known for his magnificent full scale operas and oratorios, and his brilliant orchestral music. His output in chamber music however is of equal quality and diversity, full of melodic and instrumental invention. This set offers the complete chamber music, the violin sonatas, oboe sonatas, flute sonatas, recorder sonatas and the complete trio-sonatas. Expertly played by L’École d’orphée, playing on authentic instruments, with such illustrious names as Philip Pickett, John Holloway and Stephen Preston.

George Frideric Handel
TAMERLANO

Bajazet – Plácido Domingo
Tamerlano – Monica Bacelli
Asteria – Ingela Bohlin
Andronico – Sara Mingardo
Irene – Jennifer Holloway

Teatro Real Chorus and Orchestra, Madrid
Paul McCreesh, conductor

Graham Vick, stage director

Recorded live at Teatro Real, Madrid on 29 March, 1 and 4 April 2008.

Bonus:
- Illustrated synopsis and cast gallery
- Interview with Paul McCreesh

Picture format: NTSC 16:9 anamorphic
Sound format: PCM Stereo / DTS 5.0
Region code: 0 (all regions)
Menu Language: English
Subtitles: English, French, German, Spanish, Italian
Running time: 241 mins
No. of DVDs: 3

Teatro Real's majestic production of Handel's vivid tragedy, Tamerlano, stars a Lear-like Plácido Domingo as the Turkish Sultan Bajazet, caught between pride, love and loyalty. Displaying the uniquely heroic quality of his voice, Domingo heads a superb cast, including Sara Mingardo, Monica Bacelli and Ingela Bohlin, all magnificently responsive to Paul McCreesh's authentic and luminous interpretation of the score. The stunning theatrical staging by Graham Vick provides a splendid setting for the characters and for designer Richard Hudson's extravagant Baroque-Islamic costumes, emphasising the brilliance of one of Handel's finest dramatic achievements.

FULL REVIEW

Probably one of the best Handel operatic productions presently available...

If Handel’s two other great operas, Giulio Cesare and Rodelinda, are well known then this third of the trio of ‘greats’ should certainly join them. This production will do much to underline that.

For some years now the phrase ‘director’s opera’ has had a pejorative ring – sometimes with justification. This production has Graham Vick written all over it. Further, the music director James McCreesh concedes that that extends to choice of versions of scenes. “What do you mean, ‘choice of versions of scenes’? An opera is an opera is an opera.” Sorry but it is not: that is what we have come to expect today but Handel and very many composers re-wrote scenes or omitted, added or replaced arias according to the ability of the available singers. And Tamerlano is no exception. No, I do not intend to bore you with a detailed analysis. One example will suffice: death or coronation in the last scene? Well, here you get both.

What of the plot? The psychopathic Tamerlano has captured Ottoman leader Badajet and daughter Asteria. Tamerlano’s Greek buddy Andronico falls for Asteria. Meanwhile, Irene, princess of Trebizond, is on her way for her nuptials with Tamerlano. Tamerlano then decides that he will marry Asteria and palms Irene off on Andronico. Asteria’s two failed attempts on Tamerlano’s life and then Bajazet’s suicide persuade Tamerlano to revert to the original marital arrangement. Thus, theoretically, all ends happily but the music suggests otherwise, as it has throughout. This is ‘dark’ opera: Handel at his compelling best with some remarkable conventional da capo arias. There are three sections ABA where the singer is allowed free rein in the third which was much to the point of Handel’s operas when first produced: an opportunity for florid vocal display. And if you ever thought that da capo arias are repetitiously dull and boring then watch and listen. Further watch and listen carefully to the last scene where Handel almost ignored the musical conventions.

In Handel’s day productions were virtually static: singers stood and delivered and then frequently left the stage to applause hence, called, the exit aria. Curiously McCreesh describes this production as “quite still”. Maybe: in comparison with other operatic productions. However, for me, Vick instils this one with wholly appropriate body and facial movement. I cannot pretend that I understand all of the symbolism, particularly of the silent ‘groupies’ who accompany some of the singing: and just occasionally distract attention from it – an example is during the only aria given to Leone - Tamerlano’s henchman. That aside, the acting here is first class, capturing Tamerlano’s almost demonic personality, Badajet’s decline and his reciprocated love for Asteria and also Andronico’s constancy.

We expect no less. This is Monica Bacelli, the proven exciting Handelian in the title trouser role and the ‘imported’ Plácido Domingo as Badajet; ‘imported’ because this is his first Handel part in over a hundred roles and it is perfectly suited for him: a truly dramatic tenor.

Bacelli is in excellent form displaying a neurotic vibrancy through very expressive movements. This is not ‘stand and deliver’ and nor is it a general-distraction cavort about the stage: but it is movement to encompass the stage and engage the audience in her characterful playing. Yes, and she sings too. Whilst her smaller voice contrasts with Domingo’s power she never loses her strong focus or line and elegant phrasing. Not a pitch out of place, not a run slurred; most arias at a faster pace with opportunity for colouring and strong tones that she never misses.

Domingo is equally splendid portraying the beaten leader. Dramatic singing throughout. If I have a slight hesitation it would be about vocal flexibility in the quicker aria Ciel e terra (disc 1 track 15) – hardly surprising in a singer of his years which generally show no sign of catching up with him. But here I am being ‘nit-picky’. His is vocal drama which makes us empathize with a fallen leader of the Ottoman Empire and renders understandable the taking of his own life. That is no mean feat when his beloved daughter Asteria still lives. Domingo gives a master class in diction, dynamics and phrasing. His final aria is magnificently delivered as he leaves the stage backwards into the darkness.

The Swedish soprano Ingela Bohlin effortlessly despatches the role of Asteria, or so she makes it appear. This high-lying soprano role does not trouble her. In her splendid aria Cor di padre (disc 2 track 24) at the end of Act 2 she vocally wanders about at the top of and above the stave, occasionally leaping there with total accuracy. In her aria Se non mi vuol amor (disc 1 track 13) she leaves high notes just hanging exquisitely in the air. She has a very secure vibrato - and that is not an oxymoron - and a gentle trill which adds much to aria meaning and audience enjoyment.

Sara Mingardo is a true contralto but noticeably of smaller voice. Bearing in mind how responsive McCreesh is with the orchestra for the forte and piano of the roles for Bacelli and Domingo, it is disappointing that he does not at all times afford Mingardo that same facility/kindness/support. Mingardo has wonderful vocal flexibility with quite remarkable beauty of tone. No applause for her act 1 aria Bella Asteria (disc 1 track9) which I would have expected to lead to sustained applause. Her timbre balances extremely well with both Bacelli and Bohlin to produce some delightful sounds.

Jennifer Holloway, as Irene arrives on stage aloft by some three metres on a gorgeous blue elephant on wheels. Could it be that the slightly irregular jumbo traverse of the stage contributes to her occasional lack of smoothness and steadiness of note in her opening aria? Certainly when back on stage terra firma her smooth clarity of note returns and when singing piano there is great beauty of tone.

De Donato, as Leone, is afforded one aria. Here it is the act 2 Amor dà guerra (disc 2 track 10) as opposed to the act 3 option of Nel mondo e nell’ abisso. Apart from a slight hint of effort when on serious high he sings clearly with a firm line. His problem, or rather our problem, is to concentrate on him while three pairs of ‘supporters’ perform a variety of symbolic mimes. Despite watching it several times I remain convinced that I do not fully understand all the symbolism.

That applies also to movements that take place on the balcony which goes around the semi-circular stage where the ‘groupies’ perform various mimes in slow motion around it or small blue elephants move equally slowly. That leaves a bare stage over which hangs the celebrated foot on the globe (no prizes for guessing that piece of symbolism) variously pushed up by Badajet or crushing him or Asteria. It also ascends and descends almost imperceptibly as appropriate to the stage action. In act 2 in what is almost a coup de théâtre it revolves through 180° to reveal its hollow back with gold lining and a seat that becomes Tamerlano’s throne.

The only stage prop which doesn’t seem to me to be particularly effective is the long bench protruding from the back stage in the first part of act 3 which serves at Tamerlano’s throne. Otherwise, the stage effects together with the matching half moons near stage front that move together to form another circle and become a prop in their own right, are spectacularly effective.

Colours are also fundamental. The stage is white, the costumes black and/or white except for the splendid Act 2 vivid lime green for Tamerlano and later a brilliant cerise. Irene has similarly strongly coloured costume when on her elephant. As you can see above Badajet and daughter are in white and remain so throughout. Symbolism in colours? I think so.

All that said there is a fault: but not with the production. It is the subtitles: too frequently the translation leaves a great deal to be desired. It is not idiomatic; indeed occasionally it is archaic if not arcane. Rely on them and from time to time you might struggle to follow the plot. Any such problem is overcome by the synopsis - one of the extra features. There is also a helpful commentary in the accompanying booklet.

-- Robert McKechnie, MusicWeb International

A Handel masterpiece from Greek forces springs a welcome surprise

We’re lucky enough to be having rather a clutch of important Handel recordings emerge at the moment. This latest is the first recording to use the version of Tamerlano performed at its premiere. And George Patras’s Greek forces do the opera proud. In a real ensemble achievement, Nicholas Spanos is outstanding in the title-role, surmounting the vocal hurdles with ease.

-- Gramophone [2/2008]

Classical Music

Acknowledged without reservation as the greatest composer working in England in the 18th century, Georg Frideric Handel is revered worldwide as a master composer. His Harpsichord Suites are among the finest instrumental works of the period, we are privileged to present exquisite performances by Gilbert Rowland, one of Europe's foremost harpsichordists.

"It is impossible to praise this new release too highly. The harpsichord, a copy of a two manual French harpsichord after Goermans (Paris 1750), built by Andrew Wooderson in 2005, is a lovely instrument. The combination of Handel, Gilbert Rowland, Wooderson’s fine harpsichord, the recording venue at Holy Trinity Church, Weston, Hertfordshire and the recording engineer John Taylor is unbeatable providing, as it does, a collection of these wonderful suites that I will return to again and again."

-- The Classical Reviewer

Classical Music

Handel's violin sonatas, familiar to violinists and chamber audiences, have been inexplicably neglected on disc. These intimate, inviting sonatas show the seldom-heard side of Handel's genius.

"Violinist Rachel Barton triumphs in her first release for the Cedille label… Indeed, Rachel Barton's wonderfully vital Handel performances bring us some of the most refreshing, life-enhancing Baroque playing heard in years." -- Chicago Tribune

"[Rachel Barton] is one of the rare mainstream performers with a total grasp of Baroque style and embellishment, and the whole disc is a delight… The exhilarating bravura of her incisive articulation and sharply pointed rhythms is matched by Barton's singing line in her poised and elegant lyrical movements. Superb continuo players David Schrader and John Mark Rozendaal contribute to the real sense of ensemble teamwork." -- Fanfare

"Few non-specialists have gotten inside this procedure [of ornamentation] as convincingly as violinist Rachel Barton. Her playing is splendid on all levels - lovely tone, wonderfully expressive phrasing, secure technique, and strong involvement with the music. But the most unusual aspect of Barton's Handel is the convincing and imaginative way she embellishes the repeats in the music - adding runs, ornaments, and flourishes that give a different aspect to a phrase we've just recently heard… They help to enliven a cherishable disc." -- Classical Pulse

"A spritely partnership between violin and cello, with deft rhythmic accompaniment on harpsichord… The music's virtuosic character is rendered with superb, resonant double and triple stopping and de-emphasized dance motion in the allegros. Barton lets the music's raw, improvised feeling hang out a little, giving the recording a refreshing zest." -- Classical Net

"[Rachel Barton] uses a baroque bow with her modernized 17th-Century violin, making a wonderfully warm yet still focused sound, and her passage work is brilliant yet lyrical - much like the cascades of a coloratura - and her ornamentation is both thoughtful and virtuosic. This is a wonderful recording." -- American Record Guide

An admirable performance of a rare work.

‘The worst libretto Handel ever set … the construction is clumsy, the characterisation incredible,’ wrote Winton Dean, with his typical panache, in his and Merrill Knapp’s classic book on the earlier Handel operas. Never mind: if one is prepared to accept that Handel’s dramatic muse sometimes nodded, and just enjoy the music for what it is, Silla is amply worth a hearing. It had its first English revival in spring 2000, in the Handel series that Denys Darlow directs at the Royal College of Music, and the present recording is a by-product of those performances.

The opera, probably Handel’s shortest, dates from 1713 and seems, oddly, to have been written for a private performance at the main London opera house in honour of a new French Ambassador – although there is no certainty that the performance actually took place. The plot, an absurd farrago about the Roman dictator Sulla (‘Silla’ is the Italianised form), here a ruthless murderer who makes unsuccessful grabs at two of the three women in the cast (the third is his wife) and then suddenly repents, seems decidedly inappropriate for a festive occasion, or indeed any occasion at all. It’s the kind of libretto that has got baroque opera a bad name. Its sole merit – and this is quite important – is that it does allow opportunities for a considerable range of musical expression.

Curiously, however, Handel doesn’t seem to have been fully alert to those opportunities. Sulla himself, for example, gets music more amiable than so odious a character seems to deserve (including a truly lovely ‘sleep song’, with recorders), and the music for his wife Metella is often absurdly at odds with the text and her situation. But there are many attractive numbers, notably some telling music for the two pairs of lovers who find themselves threatened by Sulla’s importunities – Lepido and Flavia have two duets, the second a miniature but intensely poignant F minor Adagio, while Celia grieves the (supposed) death of her Claudio in a heartfelt G minor sarabande.

The mainly youthful cast here – these performances traditionally give opportunities to promising young singers – are very successful and I am sure we will hear a lot more of some of them. Rachel Nicholls sings Metella’s music in a pleasant, natural and very even voice, strong and resolute in the big aria that ends Act 2. As Celia, Elizabeth Cragg shows a lighter voice with a hint of an attractively grainy quality; Natasha Marsh’s full and rounded voice rings out to excellent effect in Flavia’s arias.

Except for the brief appearance of ‘Il Dio’, an odd kind of god who encourages Sulla’s ferocity in his dream vision (ably taken by Christopher Dixon), there are no true male voices. Lepido is sung by Joanne Lunn in a fresh, bright voice, accurate and rhythmic; Claudio is taken by Simon Brown, a capable and fluent countertenor with a strong and clear top register and much subtlety in handling details of stress and timing. He has a fine aria with trumpet to end Act 1. Sulla himself is sung by a Handelian of considerable and obvious experience – a fine model for the young members of the cast: James Bowman shows his knowledge of how to shape and colour Handel’s lines and (as in the fiery Act 2 aria) to sing forcefully and still musically. The voice rings well even if the lower register now has a little less character.

All the singers add a little, generally discreet ornamentation in the da capo sections. Denys Darlow, as always, conducts in a direct and unaffected fashion, showing consideration for the singers and understanding of Handel, with a good range of tempos and with spruce, lively rhythms. Handelians will not want to miss this chance of hearing a rare work admirably performed.'

-- Stanley Sadie, Gramophone [3/2001]

Jean-Claude Malgoire conducts his Parisian ensemble, La Grande Ecurie et La Chambre du Roy, in a complete 1979 recording of Handel’s delightful comic opera Serse, best known for its universally familiar opening aria “Ombra mai fu”. The distinguished cast includes Carolyn Watkinson, Paul Esswood and Barbara Hendricks.

-----

REVIEW:

This is one of the milestone recordings in the history of Handel opera. At the time few of the canon had been recorded, and still fewer in historically-informed practice, as here. Nearly forty years later the recorded sound remains clear and crisp.

Malgoire’s cast is distinguished and creditable, led by Carolyn Watkinson’s assured Serse. Generally she is radiant, but sometimes she is steely, though that means her whizzing cadenzas are well controlled. There is a slightly brittle wobble in Paul Esswood’s singing as Serse’s brother Arsamene, and there are times when he projects more confidently, though there is haunting forlornness in Act One’s ‘Non so se sia la speme’ and his coloratura is accomplished too. Ortrun Wenkel’s Amastre is sometimes foursquare, but elsewhere there is greater colour in her realisation. More distinguished are Barbara Hendricks’s pure-toned Romilda (sounding almost like a treble in some instances) and Anne-Marie Rodde’s coquettish Atalanta. The Ariodate of Ulrik Cold is languid, but Ulrich Studer as the comic servant Elviro is characterful.

– ClassicalSource.com

Serse is one of Handel's latest and most frequently performed operas, famous for it's marvelous opening aria "Ombra mai fu." At the center of the confusing tragicomedy, very loosely based upon the life of Xerxes I of Persia, is a powerful and lovesick royal eccentric, King Serse. Rising opera star Gaelle Arquez in the title role of Serse "scintillates with her nimble, luminous mezzo-soprano", singing "irresistibly beautiful, impassioned, furious - but never mean" (Frankfurter Rundschau). Frankfurt's excellent Opern- and Museumsorchester contributes "all sorts of refinements" to this "musical smash hit" (Deutschlandfunk) and "In Frankfurt Tilman Kohler ensures a three-hour short abundant and furious banquett... a great evening of opera." (Deutschlandfunk).

Handel's Saul is an operatic oratorio with ever intensifying action and increasingly drastic scenes. Handel seems to have been especially moved by this particular text. He gives each of the five main soloists a distinctive profile. Even the vocal supporting roles are unique and intentionally individual. In none of his other oratorios does Handel call for a more differentiated orchestra. Alongside the strings, he uses oboes, recorders, bassoons, trumpets, timpani and trombones. For me, Saul is one of the great high points of Handel's works. All of the performers on this recording thoroughly enjoyed taking on the challenges brought forth by this music. - Helmuth Rilling