Anna

The gestation of this project lasted two years. Anna Prohaska and Julius Drake finally concentrated their research on the themes of Eve, Paradise and banishment. Some songs were obvious choices, such as Fauré’s Paradis, in which God appears to Eve and asks her to name each flower and animal, or Purcell’s Sleep, Adam, sleep with its references to Genesis. But Anna Prohaska also wished to illustrate the cliché of the woman who brought original sin into the world and her status as a tempter who leads man astray, as in Brahms’s Salamander, Wolf’s Die Bekehrte or Ravel’s Air du Feu. In Das Paradies und die Peri, Schumann conjures up the image of Syria’s rose-covered plains. Bernstein also transports us to the desert with Silhouette. John Milton’s seventeenth-century masterpiece Paradise Lost was the inspiration for Charles Ives and Benjamin Britten, also featured in this very rich programme that constitutes an invitation to travel and reflection.

Semele was first presented in London in 1744; it was billed as an oratorio for murky reasons, but indeed it is operatic. I believe that this is the third recording of the work: John Eliot Gardiner’s (on Erato) is severely cut, and although much of the singing is good, it can’t compare with John Nelson’s complete, gorgeous performance (on DG) played on modern instruments. This latter is a lithe, brilliant show with Kathleen Battle in her greatest recording as the vain, self-destructive Semele and Marilyn Horne and Samuel Ramey close to magnificent, with tenor John Aler an elegant if slightly underpowered Jupiter.