McGegan's recording is of considerable documentary interest in that a separate section at the conclusion of each of the three parts of Messiah - there are three discs accordingly - is reserved for the many alternative versions of arias, accompanied recitatives and choruses which Handel himself used or at least approved in performances during the 1740s and 1750s. In this way, the booklet explains, the listener can select which version of the work he/she wants to listen to at any given time. About six versions are possible from the 18 alternative tracks provided on the three CDs. By following a table printed in the back of the booklet (a few minutes' mental gymnastics are initially required) you can programme your CD player to replace particular arias with others.
George Frideric Handel (1685 - 1759): Susanna. Oratorio. First performed 1749. Complete version including all the music that Handel later deleted. Performed by Lorraine Hunt and Jill Feldman, soprano, Drew Minter, countertenor, Jeffrey Thomas, tenor, David Thomas and William Parker, bass; the U.C. Berkely Chamber Choir; the Philharmonia Baroque Orchestra, San Francisco, conducted by Nicholas McGegan. Recorded live in September, 1989, at the Hertz Hall at the University of California.
"It's a glorious performance… McGegan inspires incisive, darkly dramatic orchestral playing…[and] Hunt's burnished mezzo combines fire with a poignant intensity that breaks your heart." "A milestone of the Handel renaissance of the last decade"
Theodora (HWV 68) is an oratorio in three acts by George Frideric Handel, set to an English libretto by Thomas Morell. The oratorio concerns the Christian martyr Theodora and her Christian-converted Roman lover, Didymus. Handel wrote Theodora during his last period of composition, his Indian summer. He was sixty-four years old when he began working on it in June 1749. He had written the oratorios Solomon and Susanna the previous year. Theodora would be his second-to-last oratorio…
When one of Germany’s most famous filmmakers and stimulating operatic directors focuses her creativity on a rarely performed Handel opera, the result is a “mixture of dancers and singers, comedy and pathos” (The Times). “Admeto”, one of Handel’s most popular operas in his lifetime, was premiered in London in January 1727. Doris Dörrie, whose Japan-inspired feature film “Cherry Blossoms – Hanami” was a major German box-office hit and won several international awards, returns to her beloved Japan in this production… Bernd Lepel
Atalanta (HWV 35) is a pastoral opera in three acts by George Frideric Handel composed in 1736. It is based upon the mythological female athlete, Atalanta, the libretto (which is in Italian) being derived from the book La Caccia in Etolia by Belisario Valeriani. The identity of the librettist is not known. Handel composed it for the London celebrations of the marriage in 1736 of Frederick, Prince of Wales, eldest son of King George II, to Princess Augusta of Saxe-Gotha. The first performance took place on 12 May 1736 in the Covent Garden Theatre. It closed with a spectacular display of fireworks, which was highly popular with the royal family and the London audience, and the opera and fireworks display were revived a number of times in the year of its first performance.
L'opera fu composta nel 1712 e andò in scena per la prima volta il 22 novembre dello stesso anno, sotto la direzione del compositore stesso, al Her Majesty's Theatre di Londra. L'accoglienza fu generalmente negativa, probabilmente a causa delle elevate aspettative che il pubblico nutriva in seguito al successo dell'opera Rinaldo. Un commentatore riporta che "la scenografia rappresentava unicamente l'Arcadia, i costumi erano vecchi e l'opera breve". I ruoli di Mirtillo e Silvio furono interpretati dai castrati Valeriano Pellegrini e Valentino Urbani. L'ouverture è in sei movimenti appare eccessivamente ampia per quei tempi: è verosimile pensare che fosse stata scritta come una suite orchestrale distinta dall'opera.
Giustino is the Baroque version of a ‘ripping yarn’. The eponymous hero rises from ploughboy to emperor via an action-packed curriculum vitae that has him seeing visions, routing traitors, fighting bears and even slaying a sea-monster! Written in the autumn of 1736, shortly after Handel had suffered a period of ill-health, Giustino is not among his greatest operas, but it is thoroughly entertaining and offers much fine music. Particularly felicitous are Giustino’s bucolic aria ‘Può ben nascere tra li boschi’ and Anastasio’s lovely ‘O fiero e rio sospetto’. The headlong pace leaves Handel little time to develop the more sensual, amorous side of his music. One exception – and the opera’s most entrancing interlude – is the ravishing love duet in Act II, superbly sung here by Dorothea Röschmann (Arianna) and Dawn Kotoski (Anastasio). Michael Chance too is outstanding in the title role, proving that even countertenors can exude machismo. Nicholas McGegan coaxes a stylish performance from the Freiburg Baroque Orchestra. Giustino is the fourth Handel opera he has now recorded following a staging at the Göttingen Festival and this is his most assured reading to date. Mention in the credits of a Bear Growl Advisor suggests a commendable attention to grizzly detail. (Graham Lock)
It is only a short while since I reviewed a suite of dances from Rameau's opera, Nais. Now, hard on the heels of that disc (also conducted by McGegan, Harmonia Mundi, 7/95) comes a reissue of the entire work, albeit with judicious cuts. Nais was commissioned to celebrate the Treaty of Aix-la-Chapelle in 1748, and first performed the following year. Thus it was a vocal counterpart to Handel's Music for the Royal Fireworks, both pieces marking the conclusion of the War of the Austrian Succession. The present recording was made in 1980 following performances at London's Old Vic Theatre and at Versailles under the auspices of Lina Lalandi's enterprising English Bach Festival.