A
little over a year ago these recordings were reissued on
the Avie label at mid-price and favourably reviewed by
my colleague Jonathan Woolf (see
review)
He commented on the “consistently elevated standard of
singing and performance” and with that statement, or indeed
much else he said, I cannot disagree. Arleen Augér was
all too soon taken from us, barely a few years after
this disc was set down, to make her recordings all the
more
treasureable.
It
would be too one-sided an affair though if I limited
my comments solely to Augér’s performances. The Handel and
Haydn Society was founded just six years after Haydn’s
death and is one of the oldest historically informed performance
groups still operating in the United States. In 1998 at
the time of this recording Christopher Hogwood was, I believe,
their Artistic Advisor. Sir Roger Norrington takes on that
role from the 2006-7 season, but Hogwood remains in association
as Conductor Laureate. From Hogwood’s period at the helm
came several distinguished recordings, made for Decca’s
L’Oiseau Lyre label, the demise of which (for the second
time in its history) is still much to be mourned. At least
now Universal Music’s Eloquence label is breathing new
life into some of these recordings and I hope that more
from the same source will follow.
Saying
that the Handel and Haydn Society’s performances throughout
are tasteful is true, but rather sells them short. There
is no doubt that they benefit from Hogwood’s lengthy involvement
with Haydn (his complete symphony cycle with the Academy
of Ancient Music was under way) and throughout these performances
he brings an unassuming stylistic intuition to bear. Care
is taken with matters such as the exact scale and tonal
quality of the orchestra’s playing without the whole
thing sounding contrived. There is still a slightly improvisatory
quality about these performances that is pleasing. Tempi
on the whole are brisk, as one might expect from such
a
conductor and orchestra, though when needed they can
brood deliciously on the textures of chords also.
So
to Augér, and Jonathan Woolf was perfectly right to argue
that she was far from being a soprano with a rich, creamy
tone that one could feast one’s ears upon. Drama too was
central to her being, as indeed any of her recordings testify
in my experience. Here though Haydn’s five arias and
cantatas afford the opportunity to bring drama well to
the fore
without neglecting any tonal allure. True, at times the
relative maturity of the voice is noticeable, particularly
when pushed wide at each end of the vocal range. The
Scena
di Berenice shows this in particular, but odd moments
of effort are quickly passed. On first hearing they caught
my attention, on subsequent hearings I became more aware
of the fact that Augér builds them into her characterisation.
Son
pietosa, son bonina allows
for a rather more subtle, yet still dramatic, sensitivity
to come from Augér. Much is hinted at rather than openly
stated in her reading.
Solo e pensoso is taken
at a graceful tempo also that allows for clarity of
string textures to provide an entirely natural sounding
introduction
prior to Augér’s entry. Her part for the most part
rests in a richly produced stream of tone, though words
are
used to good effect too.
Miseri noi, misera patria! alternates
most delightfully between the qualities near declamation
and tenderness in Augér’s voice. As ever though, the
results are never anything other than musical and appealing.
Arianna
a Naxos is in some respects
the most challenging item on the programme, both musically
and structurally. The work’s
four distinct sections each require the capturing of
a different mood: glorious and radiant with a fully
alive voice at the opening, reflection, commanding
forcefulness
and desolation. Augér brings each to life with
unerring dramatic timing. The orchestral version, I find,
allows for greater definition to be found in the accompaniment
than when the work is performed with a piano, if at times
the orchestration itself sacrifices something in terms
of the urgency to be found within the overall structure.
Augér and Hogwood though make the most of the dramatic
possibilities: a secure lower register helps Augér
in this respect.
This
budget-price Eloquence issue includes over three pages
of informative notes written jointly by H.C. Robbins
Landon and Christopher Hogwood. Avie’s mid-price issue includes
notes, texts and translations; thus providing a slight
advantage for those that are unfamiliar with this repertoire. This
is a recording that should be in the collection of every
Haydn-lover: a worthy memorial to Augér’s art most sensitively
supported by Hogwood
et al.
Evan Dickerson
Arleen
Augér (soprano) 
