Customer Reviews

Handel: Semele

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

 

 

Nelson's recording of Semele on the Deutsche Grammophon label is an excellent example of today's premiere voices singing a Baroque masterwork. Although Semele is one of Handel's lesser-known works, this performance could well rival any recording of Giulio Cesare or Judas Maccabaeus, and despite minor imperfections, it stands as a fine Handelian interpretation.

It features an all-star cast including Kathleen Battle in the title role, Alan Aler as Jupiter, Samuel Ramey doubling as Cadmus and Somnus, Sylvia McNair as Iris and Marilyn Horne also doubling as Juno and Ino. It also includes the countertenor Michael Chance as Athamus, who makes a fine contribution to the ensemble in the role.

Battle is stunning in the role of Semele. Here at the height of her powers, her singing is beautiful and delightfully self-absorbed (appropriate for the role). Her coloratura is emotive and precise. The arias "Endless pleasure" and "With fond desiring" sparkle, and her legato is utterly smooth in "O sleep, why dost thou leave me?" even though the song's dreary tempo and overly-elongated first phrase turn it into somewhat of an epic.

Battle's interpretation of Semele is favorable even when compared with artists like Ruth Ann Swenson who recorded arias from Semele in 1998 with EMI. By comparison, Swenson's songs (although more straight-forward and perhaps more accurate) lack the fluidity and vitality of Battle's versions. Battle's intensity is best exhibited in the extraordinary aria "No, no, I'll take no less!" where she spins through four minutes of ghastly coloratura with reckless abandon. Although apparently taxing to her delicate voice, the furious melismas are managed remarkably well, and Battle finishes the piece with a spectacular high D-natural. (It is no wonder that Miss Swenson did not attempt this aria on her own album.)

Playing opposite Kathleen Battle is Alan Aler who does a respectable job with the difficult role of Jupiter. His upper register is solid and vocal acting commendable. Although he manages to create some tender moments in the opera, Aler's tone becomes somewhat unpleasant during the more rigorous allegro passages.

Marilyn Horne's performance as Juno is well played and deliberate. Her voice, although aging, is a pleasant addition to the cast. Horne maintains great agility and rhythmic precision throughout the opera. Her "Iris hence away!" is firm and fiery giving flashes of her brilliant performances in the past. Her duet with Battle in the second act is heavenly, but other arias make one yearn to hear Marilyn Horne in her prime.

The performances of Samuel Ramey, Silvia McNair and Michael Chance are vital to the strength of the ensemble. Ramey's pristine singing is sometimes cold but always enjoyable. Silvia McNair's "From mortal cares retiring" is absolutely lovely. (It is probably the most comfortable she has sounded in recent memory.) Michael Chance, a veteran singer of Baroque literature, again shows his great agility and sensitive interpretation.

Overall, Nelson exhibits fine conducting keeping both the orchestra and the chorus crisp and in tasteful balance with one another. The chorus negotiates the sometimes-hectic melismas surprisingly well. Muddy passages occur only here and there and even those can probably be attributed more to sound engineering than to poor conducting. Furthermore, Nelson's work with all the soloists in the area embellishments is to be applauded. Baroque embellishments and cadenzas can often sound forced or contrived, but this is not the case here. Most of the ornamentation sounds quite natural and fluid.

I would recommend Nelson's Semele to anyone who loves Baroque music or anyone who loves classical music for that matter. It is not intended for those who are searching for absolute baroque authenticity or heavier works like those of Puccini or Verdi. I would, however, encourage everyone to take a look at this recording if not for the music itself, then for the wonderful performers contained therein.

The sensuous "Semele" was censured in its day as a "bawdy opera"--possibly because it was written in English, and the English audience could actually understand what was happening on stage. If your only exposure to Handel up until now has been the yearly 'Messiah' concert, this 1993 Deutsche Grammophon recording is a great way to get started on his operas. John Nelson conducts the English Chamber Orchestra using modern instruments, and the stunning celebrity cast (Kathleen Battle, Marilyn Home, Samuel Ramey, John Aler, Michael Chance and Sylvia McNair) is to die for.

Semele, the beautiful, ambitious mistress of Jupiter, has got to be Kathleen Battle's perfect role. She sings it superbly with only an occasional patented Battle-gasp. Her 'endless pleasure, endless love' with chorus sparkles with the artless joy of a young woman who has just won the biggest prize in the Lotto of Love. Her "Myself I shall adore" is Battle at her sprightliest (also, possibly her most ironic).

American tenor John Aler sings a lyrical, well-enunciated Jupiter. His aria, "Where'er you walk" is one of the highlights of this three-CD recording. (If you'd like to hear a grumblier, baritone version of "Where'er you walk," try the Deutsche Grammophon recording of "Handel Arias" with Bryn Terfel.)

Mezzo-soprano Marilyn Horne tears up the vocal scenery in her dual role as Ino, Semele's sister, and the much plummier role of the vengeful goddess, Juno. Her aria, "Behold in this mirror" is an exercise in seductive vocal drama as she lures Semele ("vain wretched fool") down the path to self-destruction. After Semele takes the bait and demands to see Jupiter in his true form, Juno sings the triumphant, "Above measure is the pleasure, which my revenge supplies."

Acclaimed bass Samuel Ramey fills the dual role of Cadmus, King of Thebes and Somnus, god of sleep. It's as Somnus that he sings one of my favorite Handel arias: "Leave me, loathsome light." (I always think of it as the 'migraine aria'). If you love Sam like many of us do, you'll buy this recording of "Semele" just to hear the three minutes and seven seconds on disk three of his dark, richly resonant "Leave me, loathsome light."

Sylvia McNair, known around the world for her Paminas, Susannahs, and Tytanias sings a radiant, playful Iris in this recording. She tweaks Juno, rouses Somnus, and generally has the most fun in the opera.

Today there are some very fine English countertenors specializing in Handelian repetoire, including Michael Chance who is woefully exquisite as Semele's discarded fiancé, Athamas in this production.

The chorus is not neglected and gets to sing some good Handelian thumpers like "Oh, terror and astonishment" (my favorite) and "Happy, happy shall we be" at opera's end. Of course, Athamas doesn't get to marry Semele, but discovers he can be happy with her sister, Ino.

You, dear friends shall be happy with this recording.

If you want the definitive recording of Handel's SEMELE, look no further!! This recording is absolutely beautiful!! Featuring an all star ensemble, led by Katleen Battle, you will hear some of the most beautiful arias from the Baroque Period. Battle's spun silver soprano is well suited for singing these technically demanding arias: "The Morning Lark To Mine Accords His Note," "Endless Pleasure, Endless Love," and "Myself I Shall Adore." Marilyn Horne and Samuel Ramey team up again on this recording ( I saw them many years ago at the MET in Handel's "Rinaldo") and are great! Silvia McNair gained a new fan with: But Hark! The Heav'nly Sphere Turns Round," & "Turn Hopless Lover, Turn Thy Eyes." Mark S. Doss Is someone that I will be watching with great interest in years to come! I was VERY impressed with John Aler as Jupiter. The aria "Where'er You Walk, Cool Gales Shall Fan The Glade," is sensuous to the point that I wonder if Handel was influenced at least on a subconsious level, by Song Of Songs! This is, without a doubt, a CD that you will listen to with sheer joy for years to come!

I have passed this recording numerous times in tower records, but after reading Armon Golliday's words about Ms. Battle singing the aria "No, No! I take no less I had to to cough up the bucks and buy it...........Thank you so much. All; devout Kathleen Battle fans you must add Semele to your collection. The beautiful cover will get you to buy it alone. The cast is great....Marilyn Horne, John Aler, Mark Doss, and Samuel Ramey. I love Sylvia McNair, but when I listen to her singing and Kathleen Battle's I see why Ms Battle was chosen for the title role. People can say what they want but Ihave not heard a new singer yet that can compare to the lines of spun silver phrases that Ms. Battle delivers!!!!!!!

This just has to be one of the finest Handel recordings ever made available (and I have just about all of them!) AND with an all-AMERICAN cast!! Battle is insuperable as Semele and her singing is absolutely faultless (if you ignore the breaths!) She effortlessly executes the fiendishly difficult arias, and throws in some tingling top notes for added measure. Aler is incredible as her partner in their repartee's and this really is amazingly done. Horne is fantastic (although the top note in her da capo of Iris Hence Away is a little vulgar!). McNair is absolutely beautiful in her role. Ramey also is wonderful - Why don't we hear more of these singers doing Handel?? There are 40 other operas waiting....The only criticism I have is the chorus. They are obviously far too large, and out-of-keeping with Handel opera tradition (indeed baroque music as a whole) where the choruses were generally sung by the soloists only. If it weren't for that fact, the recording would be nigh perfect! An absolute must buy - this is one of the first Handel recordings I ever acquired soon after it was recorded - and since, having obtained about 50 other Handel works, it is still one of my favourites! Don't worry even bothering to listen to any other versions, this will always be the best!

This is perhaps one of the finest recordings in my Classical/Opera music collection. Kathleen Battle's interpretation of Semele is remarkable. There are very few sopranos who can pull off the technically demanding arias as well as Kathleen Battle. I am absolutely amazed every time I listen to the aria "No, no, I'll take no less!". I don't think I have ever heard anyone sing these most difficult malismas and runs with such ease. If I could give 100 stars for this performance, I would. BRAVA, KATHLEEN!!!

It was going to take a massive earthquake or food poisoning to derail this lineup of Nelson, Battle, Horne, Ramey, Aler, Chance, Mackie, the inimitable Sylvia McNair, Doss, the Ambrosian Opera Chorus, and the English Chamber Orchestra.

Alas, the seismic meters were calm and the seafood impeccably washed.

The result is a sterling performance of the 'other' George Frideric Handel, the one who applied his gift for oratorio to pagan as well as Christian themes.

Nelson conducts a flawless and energetic performance that leaves one almost to conclude that there is nothing in this score's potentiality that has not been brought out and made to glimmer.

Lovers of Handel need not know Semele to appreciate its virtuosity. Deutsche Grammophon has encased it all in the kind of presentation that does justice to the quality within.

I checked this out on a whim from the library and it BLEW me away. I'd never heard a Handel opera before and had no idea it could be this beautiful. The arias sung by Kathleen Battle are BEYOND SUBLIME. Just listen to track 6 on either disc 1 or 2 and you WILL be KNOCKED OUT. I'm now in love with Battle and plan to purchase this set very soon. You can't deny yourself the intense pleasure of this recording. And yes, it's BETTER THAN THE MESSIAH.

I love Handel, and was completely unfamiliar with this piece. The all-star cast and Grammy award eliminated what little reservation I had, and I must agree with the earlier reviews and say that this is a wonderful recording of a beautiful work. I will go even further and say that, while I have in the past found "sung English" to be somewhat distracting to my overall listening experience, for once I really enjoyed it. I highly recommend it!

"Semele" is something of a "wolf in sheep's clothing". Handel presumably hoped to kill two birds with one stone by ostensibly catering for the new fashion for oratorio in English while still presenting something in the Italian style but he succeeded in pleasing no-one. The audience expected Lenten penance and instead received instead a secular, "baudy opera" based Congreve's drama in turn taken from an episode in Ovid's "Metamorphoses". Its bawdiness was all the more apparent for being sung in English and presented as an oratorio; the pious were decidedly miffed by its explicitly erotic nature and refused to recognise that it was in fact a "cautionary tale" with at least superficial moral purpose to instruct the unwary concerning the dangers of overweening pride and ambition as displayed in Semele's hubris. The opera aficionados still wanted their staged frolics in Italian, so they stayed away too, and "Semele" ran for a mere four performances before it fell into desuetude, awaiting its rehabilitation in the twentieth century. It has since been more often presented as the opera it really is; certainly it was the last of its kind composed by Handel before he conceded that his thirty years of writing operas for the London stage were over and that he would henceforth concentrate on devotional epics based on Scripture; "Semele" was, after all, composed shortly after his triumph with "Messiah in Dublin and in the same year as "Samson".

The cast is extraordinarily gifted, comprising the finest Handel singers to be found in 1990, accompanied by a skilled conductor directing an orchestra which had already recorded many lovely Handel performances. This set was expensive on its appearance but was a real prestige DG issue with a beautiful (and now iconic) cover photo and cast-member photos in the booklet, full, scholarly notes by Jane Glover and a libretto in four languages.

It's cheap and easy to make snide ironic comments about the aptness of famously Difficult Diva Kathleen Battle singing such arias as "Myself I shall adore" but she performs this and all her music with divine ease, delivering pearlescent streams of coloratura up to a poised high D and perfectly capturing Semele's Valley Girl charm. Despite this being relatively late in her career, Marilyn Horne is scarcely less astonishing: her agility is intact and the tones inimitable (unfortunately, as she takes two roles). She and Battle blend beautifully. Samuel Ramey also doubles up Cadmus and Somnus, taming his glorious, burnished bass to convey the latter's somnolence in a gem of a scene with Horne and Sylvia McNair, who also sings very sweetly. Michael Chance is accomplished in the countertenor role of Athamas and John Aler deploys his light tenor very affectingly as Jupiter, singing his showpiece aria "Wheree'er you walk" with a long-breathed delicacy sufficient to recall John McCormack's famous rendition without, of course, surpassing it. I was less impressed by bass Mark S. Doss's lumpy singing as the priest.

This is now a classic recording, unlikely ever to be bettered.