George Frideric HANDEL (1685-1759)
Serse (1738) [166:00]
Anne Sofie Von Otter (mezzo) - Serse
Sandrine Piau (soprano) - Atalanta
Lawrence Zazzo (counter-tenor) - Arsamene
Giovanni Furlanetto (bass) - Ariodate
Antonio Abete (bass) - Elviro
Elizabeth Norberg-Schulz (soprano) - Romilda
Silvia Tro Santafé - Amastre
Les Arts Florissants Choeur et Orchestre/William Christie
rec. live, November 2003, Théâtre des Champs-Élysées,
Paris
VIRGIN CLASSICS 6407082 [3 CDs: 66:10 + 59:06 + 39:45]
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
Arrestingly beautiful, sung with passion and intensity.