Customer Reviews

Handel: Semele /Burrowes * Kwella * Priday * D Jones * Denley * Penrose * Rolfe Johnson * Davies * Lloyd * Thomas * Monteverdi Choir * English Baroque Soloists * Gardiner

5 star:		(4)
4 star:		(3)
3 star:		(0)
2 star:		(0)
1 star:		(1)

 

 

David Hurwitz, the Amazon.com reviewer, refers to "Semele" as the first ever opera in English, but surely is forgetting "Venus & Adonis" (Blow) or "Dido & Aeneas" (Purcell), which date from the previous century (and may be unaware that the same libretto by Congreve that Handel used for Semele was set decades earlier by Eccles, though never performed)! This incredible oversight is matched by his opinion that Nelson's 'modern' performance surpasses Gardiner's. (I was first acquainted with Nelson's recording before I got to know Gardiner's, and Nelson's is too problematic to my ears to even consider buying at a knock-down price).

"Semele" cannot be satisfactorily described as either an Italianate opera or an English oratorio. It doesn't conform to the strict structure of opera seria nor, with a plot derived from classical mythology (one of Ovid's Metamorphoses), does it conform to the religious character of the oratorio. Instead, it lies somewhere in between. I tend to refer to it as an English baroque opera anwyay and, considering opera in English was never really a flourishing genre, I think this is fair.

This recording is really very good and, for several reasons, is preferrable, in my opinion, to the recent recording by John Nelson which features Kathleen Battle in the title role, John Aler as Jupiter and Marylin Horne as both Ino and Juno - and this latter veteran, it has to be said, is probably the recording's most disappointing aspect (along with Battles' sucking in of breath). One may complain that Gardiner has made a few cuts - but the only cut I genuinely regret is part of the emotional exchange between Athamas and Ino, which is potentially one of the work's most moving scenes (Horne's delivery of it, by the way, ultimately becomes too harsh on the ear). Catherine Denley, though deprived part of this moving scene, is a most accomplished mezzo, and sings the role of Ino with the necessary maturity but without the constricted throat (and audible age) of her counterpart on Nelson's recording.

It was absolutely the right choice to cast Norma Burrowes in the title role. She is perfectly suited to it - a naturally pretty and naturally high soprano. Youthful, gentle and unaffected in comparison with her Nelson counterpart, her first recitative and aria (Can Semele forego thy love) is simply stunning. One of her arias (Endless pleasure, endless love) suffers from poor recording levels (perhaps the result of the live recording - she sounds a little distant at times), but that is my only complaint. She portrays the character of Semele and her unfortunate obsession with her divine lover beautifully. Indeed, it is the tragic unfolding of the fate of Semele alongside Ino's unrequited love for Athamas, her sister's betrothed, that for me is the appeal of this opera, besides the wealth of lovely tunes. Anthony Rolfe-Johnson sings the role of Jupiter almost perfectly, with sensitivity to the text; he delivers a touching, if slightly melancholy, rendition of "Where'er you walk" (it's meant to be a reassuring aria but, to my limited knowledge, no singer has realised it yet).

Della Jones gives a sparkling performance: she suits the jealous Juno down to the ground. Her excellent diction and dramatic flare are breathtaking - she seizes the stage uttering but a few words at times, delivering an aria at others, relishing every moment - her involvement and commitment to the part - or, indeed, any part she plays - can only be marvelled at. In fact, she, more than Denley, makes clear why Marylin Horne just isn't up to it. Her first accompanied recitative where she condemns "the cursed Semele" to "the flood of Acheron" has to be heard to be believed. Patrizia Kwella, as Juno's attendant, Iris, does her best to keep up with Jones and does a decent job - her somewhat two-dimensional voice showing its unfortunate face mainly on her first aria, managing to muster greater conviction for the recitatives.

Robert Lloyd, an excellent bass, is a marvellous and very human King Cadmus of Thebes (father of Semele) - and his counterpart on Nelson's recording, Samuel Ramey, simply doesn't possess the intent, or the involvement in the part, to deliver the words convincingly. Timothy Penrose is certainly an adequate Athamas (even in Semele's eyes, I'm sure) but he's not the most pleasing countertenor - in Michael Chance, Nelson has the better singer (though I look forward to one-day hearing a singer such as Daniel Taylor in the part).

David Thomas, who for me is usually the bane of any recording with his hammy, thoughtless kermit-the-frog vocals that often are more showmanship than singing, surprised me on this occasion with a tolerable Somnus - his odd, 'do-ey' (by which I suppose I mean thoughtless, 'trying' rather than thinking) quality remains still audible even in his 'peaceful' air and he becomes a little excited during the duet with Juno, but I suppose this is to be expected given the nature of the scene. The sad irony is that although his scene is meant to be comic, Thomas manages to sound comic at the same time as sounding as though he doesn't intend to (though one would imagine he does).

Catherine Prierard, as Cupid, has a convincingly boyish voice, but it is sometimes difficult to make out what she is singing and the aria is a little high for her. (Having heard Nancy Argenta sing Cupid splendidly on Medlam's recording of John Blow's "Venus and Adonis", I can't help comparing the two). Maldwyn Davies, who makes an even briefer appearance as Apollo, gives a fine delivery. The choruses, especially of the priests, are brilliant (they sound suffocated on Nelson's recording).

So, Nelson's recording has (tenuous) the advantage of more recent recording technology but surpasses Gardiner's recording in neither soloists nor choir. Another downside to Nelson's is that the English Chamber Orchestra is not period instrument, which may be what makes the playing slightly less beautiful than one would expect. Though I suspect the event of a more ideal recording is not too many years away (if the recording of July 2003 by Daniel Stern doesn't in fact prove to be such), I would recommend this, Gardiner's recording, in the meantime and as an addition to any recording you might own.

I may be alone in this, but I think this is a slightly better performance than the much-praised DG version. It has nothing to do with period instruments; it's that Gardiner has better soloists in the lead roles. Don't get me wrong: All the singers on the DG version are good (though many of them were better in a concert performance given five years before the recording was made). But Norma Burrowes is less coy and less prone to crooning than Kathleen Battle, Della Jones in fresher voice and more technically secure than Marilyn Horne (who would have been ideal if only she'd recorded the part ten years earlier), and the great Anthony Rolfe Johnson edges out DG's merely good John Aler as Jupiter. Gardiner also has the advantage of his great Monteverdi choir, much more dramatic than DG's chorus. And finally, Gardiner is as always a great Handel conductor; Handel and Purcell are probably the composers with whom he has the most affinity.

That said, the DG is probably still the first choice for this great work, simply because Gardiner cuts several good arias. On the other hand, if you don't want to shell out the price of three full-priced CDs, get this mid-priced set and get it with confidence. You'll be glad you did; it's a great work, whichever recording you get.

I recommend this Semele recording for a simple reason. Norma Burrowes is perfect as the title role. She has a freshness in her voice, a youthfulness that is necessary to sing Semele's part, and that is not found with other sopranos, who tend to sound too mature. Her rendition of "Oh, Sleep, why dost thou leave me" is unbeatable. Burrowes' voice makes great contrast with Della Jones' as Juno. I also find Anthony Rolfe-Johnson's voice as Jupiter a little too youthful for that matter.

This is a very satisfying recording of "Semele", even more so if you like its price, however, if you want a first class recording of this opera and if you are willing to pay for a 3 CD set, get the Deutsche Grammophon "Semele" conducted by Nelson. Even if you are an "authentist", do not be afraid of this modern instruments rendition of Handel's delightful score. Gardiner omits many numbers and his performance lacks the excitement of the DG set, but once you get acquainted with the complete opera, you may want to give Gardiner a try and buy either the whole set or its highlights. There is some very good singing there (especially from Anthony Rolfe Johnson) and it is always fascinating to compare various approaches to the same music. This opportunity doesn't happen too often with Handel's operas, so why waste it?

I received this item promptly and in great condition. The expression of the music is outstanding, and Burrowes' voice is powerful without being screechy or strained. A must-buy for Handel/Baroque fans.

This performanca is pleasant and interesting, full of very good pages, like the celebrate aria of Juppiter or the quartetto of the first act. Good Gardiner and the orchestra. Good , but not always excellent, the singers.

Semele is a comic opera in my own view, much as Don Giovanni is a `dramma giocoso'. The character that each drama is named after comes to a sticky end through supernatural agencies, but neither seems to me to be any overtly moral tale. Handel chose to call Semele a `secular oratorio' for pressing practical reasons. His beloved Italian opera was out of fashion in England, and oratorio in English was the in-thing. Semele is in English, and Handel performed it without stage-trappings, but the whole feel of the work is nothing like his genuine `sacred grand oratorios'. He had not lost his own taste for opera but his fickle public had, and the terminology had to suit the need of the hour.

There is a lot more to Semele than the famous `Where'er You Walk'. Even in its immediate context that aria is just the first of a string of particularly beautiful solos and duets. More generally, Semele is a mythological drama based on Ovid, the ultimate literary smartypants of the ancient world. Congreve had taken Ovid's story and given it in his own flat and de-smartified English before Handel even reached London, but as a ready-made libretto it was excellent, and Handel restores some of the humour with his inspired settings of drowsy music for Somnus the god of sleep and very witty effects when the deluded Semele, transfixed with her own beauty, gazes at herself in the mirror.

Gardiner's account is one that I can recommend without reservation, but I would advise readers of this notice to look also at the reviews of a rival DG version which some commentators find preferable in certain respects. I must admit that Gardiner's version does not get off to the best possible start with some very there-or-thereabouts intonation from the uncredited bass who gives the opening recitative of the priest. Unless I'm mistaken this is actually Robert Lloyd who is otherwise excellent as Cadmus, and who has a beautiful voice once the orchestra is there to support his pitch. In fact I would call all the singing excellent after this slightly shaky start. In particular you will hear some sizzling vocal virtuosity in the coloratura sequences from both Semele herself and Jupiter, David Thomas is absolutely superb as the drowsy Somnus, and the small chorus is admirably clear and sprightly. (One way in which this work differs sharply from Handel's oratorios is precisely his treatment of the chorus. You will hear the genuine tone of Handelian awe near the end in the chorus `Oh Terror', but you will hear it there and there only. Elsewhere the choral effect is much lighter and less portentous than in the oratorios, and even the choral `happy ending' is an entirely different proposition from its counterpart in Jephtha.) Among the cast I am pleased to report that the tried and trusted are here in the form of Anthony Rolfe-Johnson, Della Jones, Norma Burrowes and Catherine Denley and that none of them let us down. The other names may be new to me, but I'm very happy with them all, and in particular the counter-tenor role of Athamas - always something I await with some trepidation - is admirably dealt with by Timothy Penrose. The orchestral players are the ever-eminent English Baroque Soloists, and I was especially gratified by the sensitivity and care for beauty of sound that goes into the continuo playing. Beecham's caustic description of the harpsichord as `a bird-cage played with toasting-forks', so sadly applicable elsewhere, finds no echo here I am delighted to say, and the recording strikes me as excellent.

The liner-note calls for some comment. Congreve's full text is given, with French and German translations, but the long and very Gallic essay by Jean-Louis Martinoty, again with English and German versions, is something very exceptional. I'm sure it would have got him high marks at the Sorbonne for the scope of its (at least apparent) erudition, and I myself read it with great interest (the translation is excellent) and with some benefit, but with more interest than benefit. To cut his long story short, you can safely go directly from Ovid to Congreve without detouring down every literary byway in between. I should also take with a pinch of salt some of his more recherché extractions of deep meaning, allegory and symbolism. The ancient Greek myths were explored by the Attic tragedians as they pondered the fate of humankind and sought to illuminate the supra-human forces that act on us in ways we may misunderstand to our cost. Ovid's perky genius lightened the whole effect, reducing the heavy messages to the level of fairy-tales. Whether Congreve has added any contemporary references in disguise I don't know, but if he has they would refer to events before Handel came to England, and double meanings of this kind seem to me not to be Handel's style in the least. He knew a story that would gain from the dimension of his music when he saw one, and the extra significance that provides is enough for me. I have not tried to verify Martinoty's scholarship in any detail, but when he cites uncritically an ancient `derivation' of the name Apollo I can tell him that the ancients were uniformly at sea with this issue, that the derivation he cites is impossible (as well as misprinted) and that the science of comparative philology did not get going until Bentley in the 18th century.

Nothing is said in the liner about the performing version, and it is nothing to worry about in any case. Handel altered his scores from one performance to the next, there is hardly such a thing as an `official' Handel score, Gardiner knows the details better than I do, the score here is a model of coherency and I make no further enquiry. This may not be the only fine version available, but in general it must be a hard one to surpass in most ways.

All I have to say, is that the conductor of this recording-John Eliott Gardiner- is a conductor that is ignorant. The reason why I say this, is that when I bought two recordings made by Gardiner, i noticed that- in "La Clemenza di Tito" has a number of missing recit. in the opera. In this opera, he has missed half of the aria's of Act I and Act III. I was madly dissapointed at him. I mean, who has the right to take out arias and reciy.? I am dissapointed, John Eliot Gardiner is not a Handel Conductor. Do not buy this recording, it has missing aria's and has a horrible recording