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Site review by Polly Nomial December 16, 2007
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Performance: Sonics (MC): |
Few works of Handel, let alone in the Oratorio form, match the popularity of his Messiah yet this is one where it is arguable that the crown of favour should be bestowed instead; it even has a favourite in being the composition from which the Arrival of Queen of Sheba is extracted.
The cast of characters include Solomon, his Queen, the Queen of Sheba, two Harlots (of which many will know the famous judgement story), Zadok, an Attendant, a Levite and a chorus representing both Priests and Israelites. Tim Mead sings Solomon with grace and stature as the music (and stories) demand and is a pleasure to the ear, as are Dominique Labelle (Solomon's Queen and First Harlot), Claron McFadden (Queen of Sheba and Second Harlot), Michael Slattery (Zadok), William Kendall (Attendant - taking a step forward from the Winchester Cathedral Choir) and Roderick Williams (Levite).
The orchestral playing from the FestivalOrchester Göttingen is of a similarly high standard - indeed this may be thought of as the Baroque LFO being composed mainly of the Philharmonia Baroque Orchestra and supplemented by others from ensembles such as Les Arts Florissants and many of the ensembles that Rene Jacobs has directed here on SACD. The standard of ensemble and musicianship is a joy to the ear which is even more remarkable when one considers that it is, in essence, a "scratch" orchestra and was only created in 2006! Nicholas McGegan clearly inspires one and all into a vivid and dramatic response to the music.
The one problem I have with this issue is the choir. They sing in tune and, for boys, the tone is pleasing. The problem is that of strength of sound - the orchestra and the rest of the chorus simply have to temper their output so that the boys are not constantly swamped (and this is not always successful). Having seen Jacobs conduct an electrifying performance in living memory with the same chorus as in Handel: Messiah - Jacobs, the sense of disappointment when the Chorus of Israelites "From the censer" that opens Act II fails to exhilarate is palpable - a great shame.
The sound, taken from a single performance on 26 May 2007 in the Frauenkirche Dresden, is lovely and resonant without ever resorting to billowing. The audience is impressively quiet throughout - indeed I would never have known that they were present until the final chord dies away and their appreciation is heard all round (in MCH).
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Copyright © 2007 John Broggio and SA-CD.net
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Review by JJ November 20, 2007 (3 of 6 found this review helpful)
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Performance: Sonics (S/MC): / |
When Hændel started composing Solomon in 1748 he had just begun his great creative period which would result in such masterpieces as Susanna, Théodora and Jephta. The three-act oratorio Solomon is built on an anonymous book which manages to offer more than adequate poetry. “An author capable of writing flowing verse that adapt well to composing, frequently referring to comparisons full of flowers, birds and other elements in nature, valorizes the freshness of the musical inspiration” remarks Anthony Hicks in notes accompanying the recording. And indeed, Salomon takes place in a most pleasing flowing narrative, backed by music the composer built from different themes coming from earlier works, but also from Telemann and even Muffat. In this remarkable recording, Nicholas McGegan offers us the complete version of Hændel ’s work, and the surprise is laudatory. With a very harmonious group of soloists, an apt orchestra and a magnificent chorus, the English conductor seduces us by an undeniable narrative sense supported by inspired direction. Remarkably well recorded too, Hændel’s oratorio meets its match in this compelling performance that cannot be ignored. A fine and noteworthy undertaking.
Jean-Jacques Millo
Translation Lawrence Schulman
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