I
purposely do not include in the title above any description
of what Semele is. The box for this set describes it
as “A musical theatre entertainment in three acts based on a
libretto by William Congreve”. This is certainly helpful, but
ignores the fact that the first performance was given “after
the manner of an oratorio” rather than as an opera. It is certainly
not an oratorio but it is not certain that Handel expected it
to be performed as an opera. There have indeed been many stage
productions in recent years, although few that I have seen have
added much to what can be seen in the mind’s eye in a good concert
performance. It is this aspect that is the greatest strength
of this recording. Although the soloists, with one crucial exception,
are probably not the best to be heard on record, there is a
real sense that all are strongly aware of the dramatic situations.
They interact and strongly characterize their roles especially
in the many accompanied recitatives and in the quartet and duets.
As the libretto is not only in English this makes listening
to this set like following an absorbing drama rather than the
vocal divertissement that some recordings make of Handel’s dramatic
works.
Another
distinguishing characteristic of this performance is that it
is complete, or at least contains everything performed at the
first performance. That means that the short but delightful
aria for Cupid in Act 2 – “Come, zephyrs, come” – is elided
as Handel himself did for that performance. A pity that it was
not included as an Appendix but it is good to have so much else
that is often omitted, even if the sub-plot concerning Ino and
Athamas does hold up Act 1 and comes as something of an anti-climax
at the end.
None
of the cast is inadequate, but Rosemary Joshua in the title
role is superb, with exactly the right vocal colour and the
ability to surmount all the vocal difficulties with apparent
comfort and with a smile in the voice. Most of the other singers
take more than one part. Hilary Summers seems at first somewhat
colourless as Ino in Act 1, but it becomes clear that this is
deliberate characterization when she enters with a wholly different
kind of articulation and phrasing in Act 2 as Juno. She may
lack the sheer contralto power of such singers as Della Jones
as Juno but she shows that she understands what the fundamental
character of the role is. Very soon I found myself enjoying
her performance for what it is rather than regretting what it
lacks. Similar considerations apply to Brindley Sherratt as
Somnus and the pompous Cadmus. I am less happy about Richard
Croft. He is always aware of the dramatic situation and makes
Jupiter a more interesting character than has been the case
on some other recordings. On the other hand his tone sounds
somewhat tight and his singing lacks much in the way of charm.
The other singers and the chorus are never less than adequate.
I
suspect that much of the success of the performance is due to
the efforts of Christian Curnyn and his fine period instrument
orchestra. They are as alive as any of the singers to the turns
of the drama, and point it with panache. It is this sense of a
dramatic whole that is the key to this performance. Given that
this is arguably the most interesting dramatically of all Handel’s
dramatic works, this recording plays to that strength. Even if
you have another recording of Semele this is worth hearing
for the way that it presents the work as a dramatic whole.
John Sheppard
