Handel Siroe
View record and artist detailsRecord and Artist Details
Composer or Director: George Frideric Handel
Genre:
Opera
Label: Newport Classic
Magazine Review Date: 5/1992
Media Format: CD or Download
Media Runtime: 161
Mastering:
DDD
Catalogue Number: NCD60125
Tracks:
| Composition | Artist Credit |
|---|---|
| Siroe, Re di Persia |
George Frideric Handel, Composer
Andrea Matthews, Laodice Brewer Chamber Orchestra D'Anna Fortunato, Siroe, Soprano Frederick Urrey, Arasse George Frideric Handel, Composer John Ostendorf, King Cosroe Julianne Baird, Emira, Soprano Rudolph Palmer, Conductor Steven Rickards, Medarse |
Author: Nicholas Anderson
The year 1991 was an extraordinarily good one for Handel opera and oratorio. One of the releases probably least familiar to readers and, until now, wholly unfamiliar to me, was the opera Siroe, Re di Persia; it was the earliest of three operas for which Handel set texts by Metastasio—in this instance adapted for him by Nicola Haym. It was first performed at the King's Theatre in the Haymarket in February 1728, the last season of Handel's Royal Academy, when it ran for 18 performances.
On listening to this set for the first time I was aware, as on almost every other occasion when confronted by Handel opera, of a score stuffed full of music which I shall need to hear time and again. Then, becoming familiar with the piece one is struck by Handel's wonderful feeling for character portrayal in which Metastasio, at least in this early libretto, falls some way behind with figures which in Winton Dean's view ''behave with a mixture of sycophancy, vindictiveness, untruthfulness and irresolution that makes any sustained interest, let alone sympathy, almost impossible''. Never fear, Handel's captivating score with its concise recitative, deliberately compressed from Metastasio's original, and rich supply of expressive arias carries the listener forward briskly and effortlessly.
Siroe is one of Handel's heroic operas whose plot, as the author of the booklet essay, producer of the recording and member of the cast, John Ostendorf remarks, bears superficial resemblance to that of King Lear. Cosroe, King of Persia, wants to abdicate in favour of one of his two sons. Medarse, with his eye on the throne, hides his untrustworthy nature and swears fidelity; Siroe, the other son who has served his father faithfully, protests at having to prove himself in this way and declines. Cosroe embraces the one and rejects the other. Idaspe, a travesti role and one of the chief characters in the opera, remains in disguise almost throughout. He is in fact the princess Emira who secretly loves Siroe and is an enemy of Cosroe. She urges Siroe to prove his love to her by assassinating Cosroe; when he refuses she vows to do it herself. Siroe warns his father in an anonymous letter but Medarse claims it as his own and implicates Siroe in the plot. Matters go from bad to worse for Siroe and he is condemned to death but, black as things appear, the lieto fine is assured. On hearing that Siroe has been executed Emira throws off her disguise and clears his name. Cosroe is remorseful but learns that Siroe has not been executed after all. Father and son are reunited, Medarse and Laodice—she also loved Siroe but to no avail—are repentant and Siroe ascends the throne.
The performance has both strong and weak points. The strengths lie mainly in the singing which for the most part is stylish, sympathetic and technically assured. The soprano Julianne Baird is an appealing Idaspe/Emira though I feel that she underplays the role. John Ostendorf brings stronger characterization to the role of Cosroe, conveying something of the hollow resonance of his personality; his ''Gelido, in ogni vena'' (Act 3) is chilling and appropriately remorseful. The countertenor Steven Rickards is vocally impressive as Medarse and does some justice to his virtuoso aria ''Fra l'orror della tempesta'' (Act 2). There is, however, little in his interpretation of the role to suggest that his character is other than saintly, but his is a pleasing vocal timbre which I should be happy to encounter again in this repertory. The title-role, originally sung by the castrato Senesino, is here given to D'Anna Fortunato. She has an agile technique but the sound quality is markedly feminine and so not entirely convincing. Even so, her despairing ''Deggio morire, o stelle'' (Act 3) is deeply felt and strongly projected. Andrea Matthews is quite a passionate Laodice—her ''L'aura non sempre spira'' (Act 2) comes off splendidly, as does the brilliant ''Corrente crescinto'' (Act 3); this role and that of Emira were sung by those redoubtable rivals Cuzzoni and Faustina respectively, in 1728.
The weak moments in the performance occur more than anywhere in the orchestral playing. Handel's instrumental ensemble for this opera was the standard one of his day—strings, oboes, bassoon and continuo with no brass or additional woodwind for special effects. For the most part the oboes acquit themselves at least adequately but the upper strings, alas, do not. Some of their playing sounds sadly undernourished and appallingly scrappy in ensemble. Siroe's E major ''Mi credi'' (Act 2) is but one such instance. Not a welcoming key for string players, perhaps, but surely something with more finesse could have been produced than the poor support offered to the singer by this playing. Fortunately, not all the arias suffer to quite the same extent as this one but listeners cannot fail to be aware of such shortcomings; these are not period instruments, by the way, but modern ones so there is even less excuse for such technical shortcomings. But do not let this be the determining factor since, as I say much else and above all the music, will delight listeners.
The conductor, Rudolph Palmer, has left Handel's score largely intact, cutting only carefully selected passages of recitative here and there, Laodice's aria ''Or mi perdo di speranza'' (Act 1) and Siroe's ''Se l'amor tuo'' (Act 3). The pacing is lively though on occasion I found the string basso continuo playing a little heavy and unimaginative. In short, a welcome addition to the catalogue of Handel's recorded music, effectively recorded, affectionately documented and including the full text in Italian and English. Not ideal, perhaps, but well worth investing in.'
On listening to this set for the first time I was aware, as on almost every other occasion when confronted by Handel opera, of a score stuffed full of music which I shall need to hear time and again. Then, becoming familiar with the piece one is struck by Handel's wonderful feeling for character portrayal in which Metastasio, at least in this early libretto, falls some way behind with figures which in Winton Dean's view ''behave with a mixture of sycophancy, vindictiveness, untruthfulness and irresolution that makes any sustained interest, let alone sympathy, almost impossible''. Never fear, Handel's captivating score with its concise recitative, deliberately compressed from Metastasio's original, and rich supply of expressive arias carries the listener forward briskly and effortlessly.
Siroe is one of Handel's heroic operas whose plot, as the author of the booklet essay, producer of the recording and member of the cast, John Ostendorf remarks, bears superficial resemblance to that of King Lear. Cosroe, King of Persia, wants to abdicate in favour of one of his two sons. Medarse, with his eye on the throne, hides his untrustworthy nature and swears fidelity; Siroe, the other son who has served his father faithfully, protests at having to prove himself in this way and declines. Cosroe embraces the one and rejects the other. Idaspe, a travesti role and one of the chief characters in the opera, remains in disguise almost throughout. He is in fact the princess Emira who secretly loves Siroe and is an enemy of Cosroe. She urges Siroe to prove his love to her by assassinating Cosroe; when he refuses she vows to do it herself. Siroe warns his father in an anonymous letter but Medarse claims it as his own and implicates Siroe in the plot. Matters go from bad to worse for Siroe and he is condemned to death but, black as things appear, the lieto fine is assured. On hearing that Siroe has been executed Emira throws off her disguise and clears his name. Cosroe is remorseful but learns that Siroe has not been executed after all. Father and son are reunited, Medarse and Laodice—she also loved Siroe but to no avail—are repentant and Siroe ascends the throne.
The performance has both strong and weak points. The strengths lie mainly in the singing which for the most part is stylish, sympathetic and technically assured. The soprano Julianne Baird is an appealing Idaspe/Emira though I feel that she underplays the role. John Ostendorf brings stronger characterization to the role of Cosroe, conveying something of the hollow resonance of his personality; his ''Gelido, in ogni vena'' (Act 3) is chilling and appropriately remorseful. The countertenor Steven Rickards is vocally impressive as Medarse and does some justice to his virtuoso aria ''Fra l'orror della tempesta'' (Act 2). There is, however, little in his interpretation of the role to suggest that his character is other than saintly, but his is a pleasing vocal timbre which I should be happy to encounter again in this repertory. The title-role, originally sung by the castrato Senesino, is here given to D'Anna Fortunato. She has an agile technique but the sound quality is markedly feminine and so not entirely convincing. Even so, her despairing ''Deggio morire, o stelle'' (Act 3) is deeply felt and strongly projected. Andrea Matthews is quite a passionate Laodice—her ''L'aura non sempre spira'' (Act 2) comes off splendidly, as does the brilliant ''Corrente crescinto'' (Act 3); this role and that of Emira were sung by those redoubtable rivals Cuzzoni and Faustina respectively, in 1728.
The weak moments in the performance occur more than anywhere in the orchestral playing. Handel's instrumental ensemble for this opera was the standard one of his day—strings, oboes, bassoon and continuo with no brass or additional woodwind for special effects. For the most part the oboes acquit themselves at least adequately but the upper strings, alas, do not. Some of their playing sounds sadly undernourished and appallingly scrappy in ensemble. Siroe's E major ''Mi credi'' (Act 2) is but one such instance. Not a welcoming key for string players, perhaps, but surely something with more finesse could have been produced than the poor support offered to the singer by this playing. Fortunately, not all the arias suffer to quite the same extent as this one but listeners cannot fail to be aware of such shortcomings; these are not period instruments, by the way, but modern ones so there is even less excuse for such technical shortcomings. But do not let this be the determining factor since, as I say much else and above all the music, will delight listeners.
The conductor, Rudolph Palmer, has left Handel's score largely intact, cutting only carefully selected passages of recitative here and there, Laodice's aria ''Or mi perdo di speranza'' (Act 1) and Siroe's ''Se l'amor tuo'' (Act 3). The pacing is lively though on occasion I found the string basso continuo playing a little heavy and unimaginative. In short, a welcome addition to the catalogue of Handel's recorded music, effectively recorded, affectionately documented and including the full text in Italian and English. Not ideal, perhaps, but well worth investing in.'
Handel Siroe
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