It would be inaccurate to call Serse one of Handel’s
most popular operas. That said, it certainly has a higher than
average number of recordings. These reach all the way back to
the days of Maureen Forrester and Owen Brannigan, to say nothing
of the more recent contributions of Ivor Bolton and Nicholas
McGegan. In fact its first aria, the famous Largo - more
accurately titled Ombra mai fu - which gives the opera
its fame. It would be a shame, however, if this was all of the
opera that you ever knew because it’s one of Handel’s
most diverse and interesting works. It contains varied situations,
a comic, almost proto-buffo character, and a variety of different
kinds of aria, not just wall-to-wall da capo. It’s still
bound by the conventions of opera seria and its dramatic situations
stretch belief, but the final happy-ever-after chorus is perhaps
the most alluring opera finale that Handel composed. In fact,
the third act contains music of valedictory power that is by
turns beautiful and stirring.
Amidst a wide range of recordings this one holds its own very
well, thanks mainly to the gorgeous playing of Les Arts Florissants.
They are vigorous and engaging in the overture then play with
unfeasible beauty in the famous Ombra mai fu. Throughout
the opera they maintain a wonderful dichotomy of the sprightly
and the sensual. This works brilliantly and they anchor the
set so that one feels that every number, whatever its mood,
is in safe hands. Christie’s choice of tempi always feel
right and he never tries to swamp or upstage the singers.
As for the singers, they are very fine, though not unequivocally
so. Anne Sofie von Otter, like many other members of the cast,
is slow to get out of the starting block. Her performance of
the famous Largo that opens the work is good, but for
the whole of the first Act her interpretation is predominantly
harsh rather than beautiful and at no point does she convince
as an authoritative ruler. By the time of the second Act, however,
she is more believable, conjuring up some marvellous coloratura
in her great aria Se bramate d’amar, though her
dramatic aria of fury in Act 3 sounds histrionic rather than
enraged.
The servant Elviro is that rarest of things in a Handel opera:
a comic character. It’s not something you expect in opera
of this type but Handel carries it off rather well and it makes
you regret that he didn’t turn to comedy more often. Antonio
Abete plays the role convincingly, taking the wise approach
that less is more and only seldom over-egging the pudding by
exaggerating his role; the passage at the beginning of Act 2
where he is disguised as a flower-seller gets a little wearing.
His singing is fine, though, carrying strength and character.
Like her imperial lover, Romilda conjures beautiful sounds,
though they are somewhat empty in places: her Act 1 aria Nemmen
con l’ombre d’infedelta, for example, is lovely
but it seems to wander with little sense of purpose. Sandrine
Piau’s Atalanta is enchanting, especially in her flirtation
aria in Act 1. Her voice is the most instantly appealing of
the ladies, making me regret that she was not given the more
substantial role of Romilda. Her tender Act 2 aria, Voi mi
dite, is ravishing, perhaps the highlight of the whole set.
Likewise, Silvia Tro Santafé’s Amastre immediately
makes you sit up and take notice because her voice has a colour
entirely different to that of the singers around her and she
uses it well to convey her character’s status as an outsider
at Serse’s court. Her coloratura is also very good in
her Act 1 revenge aria. She also has to convey the widest range
of emotions and she crowns her interpretation with a lovely
aria of regret in Act 3.
Giovanni Furlanetto’s bass is fine in a small role, but
it takes a while for the ear to tune in to him as his first
aria seems centre-less, the voice unfocused at times. Lawrence
Zazzo is a rather chilly presence, though, with a somewhat pallid
quality. The highlight of his interpretation is Arsamene’s
tragic Act 3 aria which is arrestingly beautiful, sung with
passion and intensity.
The competition for this opera is relatively strong, and many
would feel that McGegan pips Christie to the post, but if you
are fond of Les Arts Florissants then you will find a great
deal to enjoy here. As with the rest of this series there is
no booklet but the libretto (with English translation) and an
interesting accompanying essay are given on an accessible CD-ROM
Simon Thompson
Anne Sofie Von Otter (mezzo) - Serse 
