Australian record label
ABC Classics have released a live recording
of Handel’s Semele. This a fascinating
and entertaining first ever production
by the Pinchgut Opera, Sydney's newest
opera company in whose ranks, we are
told, are some of Australia’s finest
opera singers.
Handel’s Semele
is neither an oratorio nor an opera,
but a mixture of the two; sometimes
referred to as a ‘pastoral’. Described
by biographer Herbert Weinstock in 1959
as an, "actionless opera."
the work was first performed as a ‘concert
version’ (like an oratorio) at Covent
Garden, London in 1744 and first produced
as a ‘staged presentation’ (like an
opera) in Cambridge in 1925.
Handel’s disenchantment
with Italian opera in the late 1730s
and early 1740s has been well documented
and Semele is the fruit of Handel’s
experimentation with dramatic works
set in the ‘oratorio way’ that were
not staged and which used the English
language. The libretto for Semele
was thirty-seven years old written
by William Congreve who had utilised
various sources including the Old Testament,
Greek mythology and English poetry.
Congreve took his plot from the poet
Ovid’s book of Metamorphoses and
called it The Story of Semele. There
is some doubt who arranged Congreve’s
libretto which was augmented with lines
from Alexander Pope and the Reverend
Pratt.
Antony Walker directs
the Sirius Ensemble and the Cantillation
choir to great effect. The impressive
Sirius Ensemble, using period instruments
and authentically sized forces, play
enthusiastically and are most convincing.
I particularly liked Walker’s expertly
judged pace which is so important in
a Handel performance and the smooth
timbre of the Sirius Ensemble’s strings
was most impressive. The seventeen strong
Cantillation choir are outstanding and
a real joy to hear. They are particularly
bright and eager in the Chorus of the
Priests : "Lucky omens bless our
rites" (CD1, track 3) and suitably
menacing in "Avert these omens
all ye pow’rs!" (CD1, track 9).
The solo singing on
this release is enthusiastic and expressive
but in the main the soloists are the
weak link. They could never be described
as outstanding when compared to the
many eminent Handel specialists that
they are competing with on the international
stage; such as Bowman, Daniels, Scholl,
Jacobs, Chance, Blaze, Kirkby, Dawson,
Argenta, Bott, Jones, Gens, Daneman,
Genaux, Kozena et al.
Anna Ryberg is well
cast as Semele and gives a sensitive
and engaging performance although there
is a slight shakiness in her top registers
plus one or two other occasional technical
hitches. I particularly liked her expressive
and emotional interpretations in her
airs: "Oh! Sleep why dost thou
leave me?" (CD2, track 7) and "With
fond desiring" (CD2, track 11).
The tenor Angus Wood gives a steady
and convincing performance as Jupiter
with an appealing mellow tone and is
heard to great effect in his airs: "I
must with speed amuse her" (CD2,
track 14) and "Where’er you walk"
(CD2, track 17). In the role of Athamas
the singing of counter-tenor Tobias
Cole made me wince at times which is
a shame as Handel has given Athamas
plenty to do throughout the work. The
most problematic aria is ironically
"Your tuneful voice my tale would
tell" (CD1, track 16); in particular
the section 00:54 to 01:39. In the role
of Juno and Ino mezzo-soprano Sally-Anne
Russell equips herself very well with
some fine singing particularly as Juno
in the air: "Hence, Iris, hence
away" (CD2, track 5). Juno’s famous
and demanding air "Above measure
is the pleasure, which my revenge supplies"
(CD3, track 23) sees Sally-Anne Russell
just managing to keep up with the brisk
and lively accompaniment and finding
the ornamentations a challenge. In the
dual role of Cadmus and Somnus the bass
Stephen Bennett steals the show for
me with his rich, warm and smooth delivery
of the notes and phrases. Impressive
throughout, the bass has great vocal
presence and is heard to great effect
in the airs: "Leave me, loathsome
light" (CD3, track 3) and "More
sweet is that name" (CD3, track
5).
The marvellous annotation
which includes full texts, synopsis
and the story behind Semele is
a credit to ABC Classics. On a lighter
note I found the curious looking picture
on the front cover rather off-putting.
The fine sound quality of this recording
made at live performances is very natural
and clear. Undeniably several of the
soloists could be improved upon but
overall this is a very fine live performance
of Handel’s wonderful Semele and
gives much pleasure. The release from
ABC Classics is well worth consideration
and I look forward to hearing more from
the Pinchgut Opera company.
Michael Cookson