Venceslao: George Frideric Handel and Friends (1731)

Renaissance Polish Costume

★★★½

(26 April 2019, Opera Settecento, St George’s Hanover Square; London Handel Festival)

It’s rare for a Baroque opera to look beyond the ancient world for its subject and rarer still for a librettist to look at Central and Eastern Europe; but Opera Settecento are brilliant at unearthing unusual pieces for us. This opera is (apparently) inspired by the life of Wenceslas II of Bohemia and Poland, though when I say ‘inspired’, I mean of course that opera and history bear no relation to one another. We can’t even blame Metastasio for this, because the libretto was written by Apostolo Zeno (I like to think that Metastasio would at least have tried to get some historical accuracy). Zeno’s tale is an identikit Baroque story of love, lust and power and, if I’m going to be perfectly honest, it never quite hangs together. Part of that is due to the plot, on which more shortly; but it’s exacerbated by the fact this is a pasticcio. Handel probably didn’t write anything except the recitatives: the rest was cobbled together from other composers – arias from other versions of Venceslao or from completely different operas – as a quick fix to keep audiences happy while he worked on his next original piece. On the bright side, there’s an awful lot of Leonardo Vinci here, which makes me very happy.

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The Judgement of Paris: Thomas Arne (1742)

Bernstein: The Judgement of Paris

(Brook Street Band at St George’s Hanover Square, 6 April 2018)

Some of you may remember that I saw Thomas Arne’s pastoral comedy The Judgement of Paris two summers ago, in the beautiful rectory garden at Bampton. This production for the London Handel Festival may have lacked the bucolic surroundings, but it made up for it in the quality of the cast, which marshalled a real dream team of young British singers. Yet the evening had a surprise in store: a bit of audience interaction, which pitted Arne directly against Handel and treated us to some highlights from the older composer’s Semele. Both The Judgement of Paris and Semele were based on libretti by William Congreve, whose sprightly, slightly rakish poetry still raises smiles.

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Joseph and his Brethren: George Frideric Handel (1743)

Malm: Joseph and his Brothers

★★★★

(London Handel Orchestra and Singers at St George’s Hanover Square, 20 April 2017)

Andrew Lloyd Webber wasn’t the first to realise that a good musical could be made from the story of Joseph in Egypt. 224 years before Joseph and the Technicolor Dreamcoat was premiered, Handel chose the same subject for the second of two oratorios performed in his 1743 season (the first, a month before Joseph, was Semele). With a libretto by the radical clergyman James Miller, adapted in part from an earlier work by Apostolo Zeno, Handel’s oratorio throws us straight into the action, midway through the story. We first meet Joseph in prison in Egypt, and the tale follows his rise to power, his love for the beautiful Asenath, and his eventual reconciliation with his brothers. This was my final outing for this year’s Handel Festival and it proved a great conclusion, overseen by the ever-admirable Laurence Cummings with the London Handel Orchestra and Singers.

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Il Duello Amoroso: Louise Alder and Emilie Renard

Louise Alder

(David Bates and La Nuova Musica at St George’s Hanover Square, 20 April 2017)

Thanks to work travel, I haven’t been able to see all that much of the London Handel Festival this year, but I’d been looking forward to this event: a programme of duets performed by two of our most talented young singers, Louise Alder and Emilie Renard. These duets were chamber pieces written by Handel during his early period in Italy and the most famous of them was the cantata Amarilli vezzosa, composed in 1708. It was a rare chance to hear these early works: I only wish La Nuova Musica’s music director, David Bates, had kept a more sympathetic balance between orchestra and singers.

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Elpidia: George Frideric Handel (1725)

Handel: Elpidia

★★★½

(Opera Settecento, St George’s Hanover Square, 31 March 2016)

Herewith another post from the depths of the drafts folder, which I hope still may be of some interest. I’m keen to post it because I’m a great fan of Opera Settecento’s habit of unearthing rare and unusual operas and this performance featured some of my favourite young singers. Many apologies for its lateness, but it all happened around the time of my uncle’s death and I wasn’t really up to blogging at the time. But I had a few scribbled thoughts and wanted to jostle them into some sense of order, so that I can have a record of this enjoyable and particularly complex pasticcio.

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Catone in Utica: George Frideric Handel (1732)

Handel: Catone in Utica

★★★★

(Opera Settecento at St George’s, Hanover Square, 17 March 2015)

We’re all going to be hearing rather a lot about Catone in Utica this year, so let’s get things off to a roaring start with a performance I saw last night at St George’s, Hanover Square, formerly Handel’s parish church, as part of the London Handel Festival. Although the opera was put together by Handel for his 1732 season, it’s stretching the truth a bit to say that it’s by him. Handel had to fill out his programmes somehow and so, at this stage of his career, he often produced one or two pasticcio operas each season alongside his own works. These pasticci were assembled from arias by several other composers and tailored by Handel to meet the taste of his demanding British public.

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