Customer Reviews

Handel: La Resurrezione

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

 

 

Once again the gifted and inventive Emmanuelle Haïm has 'resurrected' a Handel rarity, this time the Easter story as depicted in the composer's LA RESURREZIONE, a brilliant oratorio that borders on opera. A bit of background for the work will help those to whom this work is here discovered: 'La resurrezione (HWV 47) is a sacred oratorio by George Frideric Handel, set to a libretto by Carlo Sigismondo Capece (1652-1728). Capece was court poet to Queen Maria Casimira of Poland, who was living in exile in Rome. It was first performed on the Easter Sunday of 1708 at Rome, with the backing of the Marchese Francesco Ruspoli, Handel's patron at this time. The work details the events between - and during - Good Friday and Easter Sunday, with the action carried forward in recitative, and exploration of character and delineation of mood taking place in the arias. The characters of the liturgical drama that appear in the oratorio are Lucifer (bass), Mary Magdalene (soprano), an Angel (soprano), St John the Evangelist (tenor), and St Mary Cleophas (alto).'

Here Emmanuelle Haïm (harpsichord, organ, direction) conducts Le Concert d'Astre ensemble with distinction and has chosen a cast of excellent vocalists to bring this work to life. The angel is performed by Camilla Tilling (soprano), Lucifer by the impressive Luca Pisaroni (bass-baritone), Mary Magdalene by a radiant Kate Royal (soprano), St. Mary Cleophas by Sonia Prina (contralto), and St. John the Evangelist by Toby Spence (tenor). The oratorio follows the same style as Handel's well-known Messiah, but this work is much more dramatic and each of the vocalists creates a character instead of simply singing the at times reckless lines with great beauty of tone and pitch control. This is a 2 CD set and given the fact that it is so seldom performed is a must for those who desire to understand the Baroque tradition.

Of note, and a bit of comical history, 'the role of Mary Magdalene was sung at the first performance by the soprano Margherita Durastanti. The participation of female singers was prohibited by Papal edict, and the Pope went to the length of admonishing Ruspoli for permitting Durastanti to take part. For the remaining performances, her role was sung by a castrato.' Ah, how times have changed! Grady Harp, January 12

Handel: La Resurrezione is a recording under the direction of Emanuelle Haim who leads the Le Concert D'Astrée on this EMI recording from 2009. David Vickers has written the liner-notes and one also gets lyrics in Italian, French, German and English. The booklet also contains fine photographs of the performers from the time of the recording. Highly recommended. 5/5.

I'm a little surprised and puzzled by the unqualified praise this disc has received from all quarters.
I count myself as a huge Handel fan and was thrilled by this release, since La Resurrezione is a piece that deserves to be better known. I am in general a supporter of the fresh pespective the historically informed performance movement has brought to this repertoire.
But this performance is one big hot mess.
There's no question that there's a great deal of frenzied passion and emoting going on, and those who favor histrionics at the expense of pitch and rhythm may welcome this interpretation.
Without question, there is a great deal of drama in this music, but for my money, a bit more poised vocalism would have been a lot more expressive. To my ear, the performers approach this piece as if it were verismo opera.
The fact that this is a live performance does not excuse the sloppiness of execution at play here.
About one in every three notes is in tune. When a clear beat is given (not always the case), the singers are behind it. Not one of them has an evenly produced vocal technique. They sound like talented conservatory students, and not finished singers. I do hate to be sharky, but the standard should be higher for performers at this stage of their profession.
The instrumental musicians all perform admirably, but Haim drives her forces as if to suggest that sheer muscle excuses everything. Maybe, just maybe, this approach worked in the accoustic of the live performance, but it does not translate successfully as a pure listening experience.
This is a great piece of music. Any of the other recordings are better.

Emmanuelle Haim shines in this recording of one of the most colorful works from Handel. She has a great understanding of the relationship between sense and sensuality in Handel - I think she's one of his finest interpreters. Her voice has so much immediacy and expression. Haim is wonderfully supported by the ensemble of singers. People rarely give ensembles props for what they do, but in this recording, the ensemble was technically and stylistically at the peak of today's Handel interpretation. I also think it was from the help of Haim that ignited them to perform with such power and emotion without running wild.

Maybe, one would fail to find some inspired interpretation or excellent first rate voices here, but it is a clear, soft, appealing and stylish rendition. Every note is distinguished and carefully delivered. I enjoyed to listen to it. Four stars.