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George Frideric HANDEL (1685 - 1759)
Il trionfo del Tempo e del Disinganno (HWV 46a)
Lucy Crowe (soprano - Bellezza), Anna Stephany (mezzo - Piacere),
Hilary Summers (contralto - Disinganno), Andrew Staples (tenor - Tempo)
Early Opera Company/Christian Curnyn
rec. live, 29 January 2010, Wigmore Hall, London, UK. DDD
WIGMORE HALL LIVE WHLIVE0042/2 [65:56 + 71:34]
Il Trionfo del Tempo e del Disinganno was the first contribution
of the young George Frideric Handel to Italian oratorio. It
was first performed in Rome in 1707, and the leader of the orchestra
was no less than the great Arcangelo Corelli. It is assumed
the brilliant violin solo in the closing aria of this oratorio
was written to give him the opportunity to shine.
In Italy the oratorio was very much used as an instrument to
spread the ideals of the Counter-Reformation. But Handel's work
is different in that its subject is strictly speaking not religious.
It isn't secular either, because it has a clear moral element.
It fits into the tradition of the morality play. One of the
most famous specimens of this genre is the Rappresentazione
di Anima e di Corpo by Emilio de' Cavalieri, performed in
The theme of such pieces is simple: one person is tempted to
look for happiness in earthly things, but characters around
him try to make him realise that true happiness can only be
found in eternal life. The key character can have any name -
here it is Bellezza (Beauty) - but in fact symbolises mankind
in general. She is encouraged to choose the path of worldly
things by Piacere (Pleasure), whereas the opposing characters
are Disinganno (Insight) and Tempo (Time). In this particular
work the central question is what real beauty is: something
of this world, which is doomed to pass by (represented by Piacere),
or (moral) truth which lasts eternally. Insight and Time try
to convince Beauty of the latter. In the end they win the argument
as Beauty sees they are right.
Although in the time the oratorio was written morality was defined
by faith, there are hardly any specific religious connotations.
In the first part Tempo says in a recitative: "Whatever
this world encompasses is my realm. If you do not want to see
me, aspire to gain a precious seat in Heaven; in Heaven, where
I have no place, and where glorious Eternity resides."
Towards the end the references to the Christian faith become
clearer, as Bellezza sings in an aria "I want to change
my desire, and I want to say 'I repent', not 'I shall repent'.
When I feel I am dying I do not want to offer God what I no
longer have." The oratorio ends with another aria of Bellezza,
which is directed to her 'guardian angel': "And though
I lived unmindful of God, may you, as guardian of my heart,
bring to Him a heart made new."
Fairly recently two recordings of this oratorio have been released,
directed by Emmanuelle
Haïm and Alessandro
De Marchi respectively. They found divergent receptions:
Jonathan Woolf was quite critical of the former, whereas Glyn
Pursglove was generally positive about the second. They certainly
both have their merits, but for various reasons I didn't like
them very much, as I have described elsewhere.
When I received this production I was hoping for a satisfying
interpretation. I was delighted to see the names of Lucy Crowe
and Hilary Summers as two of the soloists. The former I had
heard with great pleasure in Marc Minkowski's recording of music
by Purcell, Handel and Haydn ("To
Saint Cecilia"; Naïve, 2009), and I have always been
a great fan of Ms Summers. My hope for a really good recording
was aroused by the liner-notes. Christian Curnyn is in favour
of carefully adding embellishment and against "too many
unnecessary additions of displays of vocal prowess". Amen
to that: too often I have heard recordings where the ornamentation
was excessive and out of touch with the style of the baroque
era. Stylish ornamentation is one of the merits of this new
recording. Curnyn has also paid attention to the use of the
messa di voce: a crescendo on a single note, followed
by a decrescendo. This was one of the tools of the baroque singer
to underline the emotion of a particular passage. It is often
sorely missed in recordings of vocal music.
However my hopes were soon dashed when I started listening.
In the liner-notes Curnyn states that he believes that Handel's
orchestra was much larger than his own, but that the fourteen
players involved in this performance are "perfectly suited
to the size and acoustic of Wigmore Hall". I beg to disagree.
Right from the start, in the Sonata which opens the proceedings,
I was struck by the lack of presence of the orchestra, and that
impression was only confirmed by what followed. This contributes
to this performance being not particularly dramatic. But there
is a second reason for that. There are too few contrasts in
tempo, and that is deliberate. Curnyn believes that there is
a kind of "right tempo" in Handel, and that extremes
should be avoided. In my opinion he too easily dismisses the
results of extensive research in the field of tempi in baroque
music which suggest that there was a preference for strong contrasts
in tempo. Curnyn refers to the notion of "rhetorical speech"
to support his view. But I can't see why this notion would enforce
a specific tempo. As everyone knows from experience, an orator
tends to raise his voice and accelerate his speech in passages
of great emotion. So it is only natural that the same happens
in music based on rhetorics. Moreover, let us not forget that
Italian treatises compare performers not so much with orators
but rather with actors. This suggests a strongly theatrical
approach of practically all Italian music - and this oratorio
is definitely a piece of Italian music.
In the light of all this I found it hard to maintain concentration.
That was even more the case as I was disappointed by the singing
of three of the four soloists. Lucy Crowe lacks sufficient profile
as Bellezza. Sometimes the delivery is under par, and I especially
didn't like her vibrato. Anna Stephany is even worse in this
respect. From a stylistic point of view her pretty big wobble
is unacceptable. It really spoils her part, and it also makes
some fast coloraturas problematic. In her liner-notes to the
recording by Alessandro De Marchi the Handel scholar Ruth Smith
states that Piacere is a young man, or even a boy. From that
perspective Ms Stephany is miscast, as her voice is just not
light enough to suggest a really young person.
Andrew Staples' singing is neat and stylistically convincing,
but at the same time not really expressive. The recitative in
Part 2, 'In tre parti divise' sounds like a news bulletin. It
is just one example of his generally too bland account of his
role. Frankly speaking I can't imagine Bellezza changing her
mind because of the persuasiveness of Tempo. There is more reason
to think it is due to Disinganno that she sees the light. Hilary
Summers is the only soloist who gives a fully convincing and
stylistically appropriate account of her role. The aria 'Più
non cura' is one of the highlights of this recording. There
are certainly some other nice moments. Despite the vibrato Lucy
Crowe sings 'Un pensiero nemico' (Part 1) reasonably well, and
the closing aria 'Tu del Ciel ministro eletto' can hardly fail
to move. That is also due to the fine violin playing of Catherine
Martin. The duet of Disinganno and Tempo in Part 2, 'Il bel
pianto', is also well done.
This production fails to bring the interpretation I had been
hoping for. On balance it’s no better than the two recent recordings
I have mentioned before. This means that in all probability
an earlier recording, directed by Rinaldo Alessandrini, remains
first choice, although it is a long time since I have heard
it and I don't know if it is still available. Even if it is,
it would be good to have at least one good alternative. This
recording is not in that category.
Johan van Veen