K617 really make a feature of the elegance
of their packaging and, when they have a good recording, it
adds something to the feel of the product. This one is very
successful, and starts with the surprise of removing the CD
box from its outer sleeve; the CD box cover is entirely black,
with a large pendant jewel depicted in the middle with the name
of the work forming a curve of small white letters beneath it.
The effect is very stylish. The same goes for the extensive
booklet with an excellent essay about Jommelli by the exotically
named Marita Petzold McClymonds. Unlike many K617 discs, this
essay was originally written in English, with the French and
Italian versions being translations. It is therefore much better
than many on this label. Alessandro de Marchi provides extensive
notes about the interpretation and performance, and there are
full texts and translations.
Niccolò Jommelli is a composer whose
significance in his own time has strangely not endured. His
importance as an innovator in the field of opera is probably
as significant as that of Gluck, in the generation immediately
following. He was particularly important in the development
of orchestrally accompanied recitative, a feature that is apparent
throughout this oratorio. Indeed, the orchestral importance
is one of the highlights of the disc, for, while the singing
is excellent, the playing of the Berliner Barock Akademie is
outstanding. (Sample 1) There are also several excellently played
aria obbligatos. This is the second feature of Jommelli’s writing
that comes across as reason for surprise at his neglect. The
writing in his arias is both melodically beautiful and extensively
developed; many of the arias are seven or eight minutes long,
yet with no padding of sequences. The demands that this places
on the soloists is considerable, and they are a uniformly excellent
group, Anke Herrmann and Jeffrey Francis in particular rising
to the challenge of some exceptional demands with panache. (sample
2)
The chorus has comparatively little to do,
but sings with a vivid sound and the clear, flexible Italian
of a native group. Throughout, Alessandro de Marchi maintains
a firm control of the pacing and flow. This is especially important
in the recitatives, through which most of the narrative is conveyed.
Unlike conventional ‘recitativo seco’ accompanied by continuo,
who are free to follow the singer with comparative ease, the
demands of the orchestrally accompanied recits create a different
balance between the freedom of the singer to stress and pace
the text as he or she wishes, and the ensemble tautness required
of an accompanying band. While it is easy enough to maintain
ensemble through careful rehearsal, maintaining freedom in this
situation is quite a different story. This is possibly the most
laudable aspect of de Marchi’s direction. (sample 3).
When we are so used to hearing the passion
story in the manner of Lutheran renditions of which Bach is
the zenith, the operatic aspects of the Italian version create
quite a different impression. Indeed, from the music alone,
one would never know that this was not a secular opera. Theological
complaints notwithstanding, this does the music something of
a service, for it is, after all, the rendition of a dramatic
story, so the operatic style seems completely appropriate. Why
the Roman authorities had such a problem with the idea is hard
to understand given music of this effectiveness and beauty.
Given this convincing interpretation and excellent performance,
this is a work well worth rediscovering.
Peter Wells
Conducted by Alessandro
de Marchi 