Customer Reviews

Handel: Atalanta

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After a quarter century this remains the only complete recording of this opera in the catalog. Seems just a tiny bit strange to me, since this is far from the weakest work in Handel's operatic oeuvre. It is a bit lacking in powerful drama, though--but that's because of its background. "Atalanta" is a "licenza"--a musical work composed for a special occasion. In this instance the special occasion was the Prince of Wales' impending wedding to Princess Augusta of Saxe-Gotha in 1736. When this became known Handel raced to throw together a celebratory work. With his usual speed he put together "Atalanta" in a little over three weeks (!). Naturally the occasion dictated the subject: love and fidelity. Patriotism and success in war, which provide so much of the fireworks in Handel's other operas, are absent here. In this story, the betrothed, Prince Meleagro and Princess Atalanta, of two neighboring lands, for some reason spend their time disguised as shepherd and shepherdess in neighboring verdant fields. Mistaken identities lead to the usual hijinks, which are resolved at the end, whereupon the gods descend and bless the union. This standard silliness is the excuse for much beautiful music. The work opens with one of Handel's most notable overtures, essentially a trumpet concerto reminiscent, at least to me, of the Water Music.

Handel wrote the male lead, Prince Meleagro, for a very young castrato working for him (Giacchino Conti. or Ghizziello) who had a very high register. As a consequence the male part spends a good bit of the show, oddly, above the female lead, Atalanta. A counter tenor just wouldn't work in this role. In fact, a fascinating situation results: for Meleagro the conductor McGegan uses a soprano, Eva Bartfai-Barta, who, quite simply, has the lightest, highest soprano voice I've ever heard in baroque opera. This seems a necessity, given how high some of Meleagro's runs go. But the duets between Meleagro and Atalanta (sung nicely by soprano Katalin Farkas) end up as truly memorable events. The rest of the singers, playing incidental shepherds and gods, are pleasant if not memorable. The Hungarian group Capella Savaria turns in an acceptable authentic performance, especially for one that's twenty-five-plus years old now. The only tiny issue I have is...Nicholas McGegan himself. In the years since this recording McGegan has grown into one of our major, if not great, Handelians. And here, as in later on, McGegan can be....a bit of a plodder. It's never enough to detract from the enjoyment of the work for me, yet I wonder if we'll see a new recording of Atalanta soon with a bit more sparkle.

Handel's Atalanta is one of the lesser known operas in the never-ending list of operas, oratorios and other vocal works.

The recording is very well put together and features a good cast of singers, a good Hungarian baroque orchestra on period instruments - Capella Savaria under the direction of the accomplished Nicholas McGegan, music director of the Philharmonia Baroque Orchestra. The playing is tight and top notch and well executed much to the normal expectations for any of McGegan's recordings.

My only concern is the sound quality is a little muffled at times and the overall level of the sound is fairly low compared to other cds, thus resulting in turning up the volume on the stereo or being virtually unable to hear it in compact sedan with a lot of cabin noise.

This opera would serve as a great addition to any collector or anyone interested in the works of Handel beyond the staple Messiah, Water Music, and anthems.