Handel wrote Hercules
towards the end his composing career,
in 1745, when he had chosen to concentrate
on oratorio rather than opera – probably
as much for commercial reasons as
any other. It was not a success: the
withdrawal of at least one principle,
audience indifference and a general
run of theatrical bad luck meant it
received few, and undistinguished,
performances. Even when revived seven
years later, Hercules didn’t
seem to inspire its London audiences.
It’s generally acknowledged not only
that Handel’s entrepreneurial drive
had flagged by this time, but also
that public taste was moving on.
What’s more, Hercules
has neither the strong religious component
nor the spectacle of Italian opera.
Its libretto is by Thomas Broughton
of Salisbury drawing on Sophocles’
Trachiniae, Senecca’s Hercules
Oetaeus and the Metamorphoses.
His construction, one that Handel
built on with outstanding skills and
sensitivities, was more akin to musical
drama. That was, indeed, how Hercules
was actually first billed – a drama
per musica with ‘acts’ rather
than ‘parts’. The chief theme is jealousy;
there is much scope for some fine
singing to ‘illustrate’ the inevitable
tensions that surround that emotion.
We’re now lucky to
have this stylish and accomplished
performance from a cast of singers
and players well-versed in the idiom
and who provide a clear, compelling
and simple account; it’s full of punch,
nuance and consistency in equal measure.
The articulation of the English libretto
is particularly pleasing, although
that is further supplemented by dramatic
insight from all the principles. Nicola
Wemyss (Dejanira) navigates her way
through Begone, my fears [CD1
tr.15] with grace and deftness – yet
doesn’t overlook the implicit depths
of feeling. Exemplary.
Hercules is the stock
hero – off at war (for the last time,
he hopes) at the beginning of Act
I; he has captured the beautiful Iöle,
of whom Hercules’ wife, Dejanira,
is instantly jealous. Iöle repels
the advances of Hyllus, not least
because he killed her father. The
work may be thought to have reached
its conclusion, if one without climax,
at the end of Act II when Dejanira’s
jealousy is dispelled and Iöle
is to be set free. But the melodramatic
episode of Hercules’ death (burnt
by the poison on the robe his wife
used to assure herself of his fidelity)
and eventual immolation take up Act
3. Things nevertheless end happily
(for some) with the marriage of Iöle
and Hyllus.
The human drama in
this really quite simple set of dilemmas
and struggles relies on the music
to make its impact; Handel certainly
devoted much thought to conveying
as forcefully as needed the subtleties
of apology (Dejanira for doubting
Hercules’ fidelity), acceptance of
originally rejected love (Iöle’s
for Hyllus) and regret (almost everyone
has something to lament). It’s generally
felt he succeeded admirably and that
Hercules is one of his better
oratorios. There are five current
complete recordings in the catalogue.
The strongest competitive
recording is undoubtedly that by Minkowski
and Les Musiciens du Louvre on Archiv
(4695322). That remains a classic,
and something of a benchmark so the
singing, playing and theatrical and
musical direction on the current release
would have had to be extraordinary
to better it. They aren’t, quite –
but they are very good indeed and
full of life and integrity. There
really is much to enjoy here. In particular,
the seemingly effortless strength
used to convey character… there is
control and conviction in the singing
of an aria like Hyllus Where congeal’d
the northern streams [CD1 tr.12]
that’s well-supported by the Frankfurt
Baroque Orchestra’s strings. It really
zings along into the following chorus,
O filial piety.
The booklet that
comes with this three-CD set is rather
sparse: a short essay with more general
background than focus on Hercules
itself; a synopsis of the plot in
English and German; and short resumés
of the singers only, in English. So
this may not be your first choice.
But Naxos has done the work proud
with this crystalline conception and
execution of one of Handel’s last
oratorios from confident performers
who are obviously enjoying everything
there is to enjoy in its uplifting
and extrovert score.
This performance
– a live recording – has pace, vibrancy
and delicacy. But it’s the sense of
energy and delight in making this
music that will probably remain with
you on repeated listenings.
Mark Sealey
Junge Kantorei 
