SEEN AND HEARD INTERNATIONAL

Handel,  Jephtha : Soloists, City of Birmingham Symphony Orchestra and Chorus, Nicholas McGegan (Conductor) Town Hall, Birmingham 15.1 2009 (GR)


Depending on venue and budget, operas are frequently given concert performances. On the other hand several works conceived as oratorios have been fully staged operas; Handel’s Jephtha fits this category. In such instances it is more common to have seen the oratorio first, but in my case the reverse was true. Consequently this concert performance from the CBSO was eagerly awaited, not least for the inevitable comparisons. Under the direction of Handel expert Nicholas McGegan the CBSO together with the soloists on display did not on the whole disappoint.

However exaggerated the claims of how short a time it took Handel to put Messiah on paper, he was no slouch in the composing stakes. But by 1751 ill health had slowed him down and his last major work Jephtha was a fitting epitaph. Handel had accepted that his life, if not his creative days were numbered. This mindset convinced him to make certain changes to parts of the libretto supplied him by the Rev Thomas Morell. One in particular was to remove the original reference to God from the mouths of the Israelites in the chorus How dark, O Lord, are Thy decrees and substitute a maxim taken from Pope’s Essay on Man, more in tune with his outlook at the time – Whatever is, is right.

After the obligatory overture, Zebul’s recitative encouraged his brethren to allow half-brother Jephtha a return from exile in order to mobilise their forces. Andrew Foster-Williams was most persuasive; his outstanding diction and strong delivery conveyed the Israelite need for a charismatic leader in the air Pour forth no more unheeded prayers. This perspective was broadened in the ensuing chorus No more to Ammon's God and King, the CBSC exhibiting their wild heathen side. Once accepted Jephtha celebrated with the catchy Virtue my soul shall still embrace, an air made unforgettable by the dancing ritornellos of the strings. While the orchestra skipped along merrily the tension in lyric tenor Paul Nilon’s voice added little and would surely not have raised troop morale. Jephtha’s dutiful wife Storgè put the nation’s needs before her own in 'Twill be a painful separation. Diana Moore as Storgè was true to her lines and we all suffered along with her during In gentle murmurs will I mourn, assisted in no small way by Marie-Christine Zupancic’s anguished flute.

Hamor, about to don his armour and follow Jephtha, poured out his heart to his betrothed Iphis, the daughter of Jephtha (Jephtha is very much a family show). I found Daniel Taylor’s Dull delay, in piercing anguish just a little dry. The bright soprano of Dominique Labelle as Iphis established where Hamor’s duty laid in Take the heart you fondly gave. Their extended da capo duet These labours past, how happy we as Hamor leaves hoping to crush the Ammonites was a delight, a blissful and melodious interaction between soprano, counter-tenor and orchestra. What could go wrong?

Jephtha had begun to have doubts. Believing only divine help will bring him victory, he bargained with his Lord to sacrifice whoever shall first salute mine eyes. {Idomeneus in Virgil’s Aeneid makes a similar bargain with Poseidon in return for his ship’s safety, the subject matter of Mozart’s Idomeneo}. The chorus that reinforces our hero’s prayers was omitted. Expressing the concern of the masses fell upon the broad shoulders of Storgè who foresaw a dire event. Moore’s Scenes of horror, scenes of woe again received potent orchestral help to convey her concerns, the string section of the CBSO suitably agitated. Another da capo aria, Moore articulated a particularly alarming Scenes when the A section meaningfully returned. Iphis told her mother to Heed not these black illusions of the night; Labelle followed this with another sparkling rendition – The smiling dawn of happy days. She succeeded in cheering me up anyway.

When the peace talks broke down, the choir having been underemployed so far, let rip with a magnificent When His loud voice in thunder spoke. The reintroduction of the horns immediately ensured a musical contrast in a chorus renowned Handel scholar Winton Dean described as ‘a pantheistic hymn to the weather god’. This brought Act I to a tumultuous conclusion during which McGegan’s action suggested he might possess a sweeping left hand cover drive, conducting with great enthusiasm and certainty

Hamor opened Act II with his Glad tidings of the Israelite victory. This was seconded by the chorus in their traditional Greek role of commentator, thanking the angels with a heavenly anthem-like Cherub and seraphim, unbodied forms. An enchanting string introduction anticipated Hamor’s Up the dreadful steep ascending, home to hopefully claim his prize. The charming tune allowed Taylor to shine with impressive leaps and spectacular coloratura, seamlessly sown up by McGegan’s balance of upper and lower strings. This amiable mood was echoed by the innocent Iphis off to meet her triumphant father with Tune the soft melodious lute; Labelle gave the impression of being in love with life while the sympathetic flute proved you can’t overplay a good tune.

After self-congratulation Jephtha awarded the gold medal to the Lord in His mighty arm. Here I could not help comparing Nilon to Mark Padmore, cast as Jephtha in both the 2003 original and 2006 revival productions from WNO. I found the tone quality of Nilon did not match that I remembered from Padmore. All now praised the heavens with In glory high, the CBSO chorus reproducing a typical Handelian sound.

There was a serene moment from the woodwinds before Iphis complete with virgin train saluted her beloved father in Welcome as the cheerful light. The strings danced gleefully along with Labelle. But the consequence of her greeting, the Horror, confusion from Jephtha, brought the oratorio to its dramatic climax – his daughter was to be the price for the Israelite victory. However the sheer agony of Jephtha at that moment failed to come across from Nilon in Open thy marble jaws, O tomb. After Jephtha had explained his behaviour, we heard some real passion and drama from Moore in Let other creatures die as Storgè realised her daughter’s days were numbered. Taylor was also noticeably agitated, when as the noble Hamor he offered to replace his betrothed in On me let blind mistaken zeal (no casual reference to sight in the libretto this, Handel was going blind).

Ensembles are not particularly common in Handel oratorios and so are to be savoured. The persistent pleading of Zebul, Storgè and Hamor failed to turn the resigned God-fearing mind of Jephtha. The responsibility of leadership bore lonely and heavy in the quartet Oh, spare your daughter rehearsed to perfection. Bad news travels fast and Iphis’ lament Happy they! This vital breath touched a chord. Jephtha in his accompagnato recitative Deeper, and deeper still maintained this mood. Here Nilon fully captured the torment of the text, full of woe yet far from woeful – his best offering of the night and one that matched his considerable reputation. The gloom spread to the people who pondered on the moral issue in the aforementioned How dark chorus. The result in the Birmingham Town Hall imparted a case for not making an opera from an oratorio. The quality of sound from the CBSO was authoritative and more consummative than is likely to be produced on any opera stage. Particularly effective and impressive were the Whatever is and is right phrases interspersed by the rising staccato chords. A poignant close to Act II.

Resigned to losing his daughter for the common Socratic good, Jephtha prays Waft her, angels, through the skies, a beautiful major key aria that requires a high tessitura and effortless delivery to succeed. A genuine highlight in the score, I was somewhat disappointed again by Nilon. However the goodbye of Iphis, Farewell, ye limpid springs and floods, lived up to expectations, Labelle’s tender Farewell’s delicately echoed by violins. If omissions have to be made due to time constraints, then excluding the ensuing chorus Doubtful fear was justifiable. The orchestral interlude Symphony suggested some salvation might be just around the corner. It came from the Angel. In hushed anticipation, a vision in white entered. It was Elizabeth Reid, listed as a senior member of the CBSYC in the excellent programme, who rendered Happy, Iphis shalt thou live. It was clearly a big moment for her. That it promised much was thanks in no small part to the delicate keyboard accompaniment of Martin Perkins. His support in the secco recitatives did not go unnoticed.

In the Book of Chapter XI of Judges, there was no reprieve for Iphis. But the libretto of Morrell decreed in a mixture of 18^th century piety and the desire for a lieto fine that she should enter a nunnery. Jephtha and the priests regarded this as a result in that their God was Ever faithful, ever sure. Zebul congratulated all at this happy (?) turn of events with his Laud her, all ye virgin train, Foster-Williams again as clear as a bell. Storgè was not given an opportunity to fold thee in a mother's arms – the dramatic aria was omitted.

The love in Iphis switched from Hamor to Heaven in a truly true magical duet, the soprano and counter tenor tones of Labelle and Taylor again purring in perfect harmony. As the other three family members made it a memorable quintet, their infectious exuberance filled the auditorium. Naturally the Israelites had the final word with Ye house of Gilead, and not for the first time in the evening the bouncy energy of McGegan ensured that Freed from war’s destruction those who feared the Lord were with one voice. Hallelujah. Amen.

Is it wise to go against a composer’s wishes? If Handel had wanted to write his Jephtha in opera form surely he would have done so. With an experience of over forty opera seria to his name there are few equals. Nevertheless Katie Mitchell and the WNO made a very good case for staging it, updating the biblical tale by setting it in a 1940s bombed London hotel for additional emotional clout; first-rate soloists as Handel’s score demands made this an engaging and dramatic production. An oratorio relies entirely on the music to provide the drama, inherent as it is in Jephtha, thus placing much of the onus for it on the performers. It was this dramatic element that at times I found lacking in the CBSO rendition. This criticism however could not be levelled at the CBSC who are and on the night were outstanding. Indeed Simon Halsey their director for over twenty-five years deservedly took perhaps the heartiest applause of the night.

Geoff Read