Facing Israel Kamakawiwo'ole

Latest release on VIVAT brings Mendelssohn’s astonishing reconstruction of Handel’s great oratorio Israel in Egypt. Mendelssohn’s 1833 Düsseldorf performance has been painstakingly reconstructed from fragments and sources across Europe: the large and colourful orchestra, playing nineteenth-century instruments, produces vivid new sonorities, and the double choir sings magnificently. Listeners familiar with Handel’s 1739 version will also find new numbers, significant changes to the order of movements and very different orchestrations.

Inside the music of drummer-composer-singer Israel Varela is a rare mix Among Latin American-Jazz-and Flamenco colors. Ultimately, though, the surprising artist from Tijuana, has figured a way to integrate all three seamlessly in this dynamic and creative band presenting his new album called“The Labyrinth Project” (JANDO Music) blending traditional forms with contemporary Jazz-Latin and Flamenco roots with a unique eclectic and modern style.

During his lifetime, Handel revisited his score of Israel in Egypt many times to create a more ‘audience friendly work’, meaning that by the early nineteenth century there were several versions available, often vastly truncated to satisfy the musical appetites of the day.

The IPO has recorded a significant repertoire of masterworks during the years. In this special anniversary tribute album, you can find a representative selection of some of the orchestra’s best recordings of the last 50 years.

Georg Friedrich Händels großes Chor-Oratorium "Israel in Egypt" ist das wertvollste Geschenk, das der Komponist der Chormusik machen konnte: Der Chor fungiert als Protagonist in diesem klangmächtigen Werk, das in bildhafter Dramatik vom alttestamentarischen Exodus erzählt. Viel zu lange war das Oratorium nach seiner wenig erfolgreichen Uraufführung im Londoner King’s Theatre in Vergessenheit geraten, bis es im Zuge der Barock-Renaissance unter Felix Mendelssohn im 19. Jahrhundert wiederentdeckt wurde.

Using some of the finest early-music soloists of the day, Parrott and his forces give posterity a recording that welds tightly focused emotion to a laudable and uncommon feel for the music. The soloists produce appropriately light but well-focused tone and display an ability to negotiate the intricacies of Handel’s notes evenly and with an exceptional grasp of the phrasing required for successful performance. The choral lines are carefully etched and meticulously balanced, resulting in a superlative overall sound that—in spite of the small choir—is rich and capable of exceeding power when required.

Schelomo receives its mead of barbarous splendour at the hands of Nelsova and Abravanel. The recording is a shade too warm but Nelsova (who recorded far too little) who studied the piece with the composer demonstrates her familiarity and sympathy with the piece. This is essential as Schelomo is one of those works that can easily seem nondescript if the artists involved are unengaged. In that sense it is rather like the Bax cello concerto (still awaiting its ideal exponent on disc). This is Nelsova's second, recording of the work. The feverish grip of the music is strongly asserted.

Israel in Babylon is a pasticcio compiled by Edward Toms in 1764, with pre-existing instrumental works by Handel transformed into arias. The performance is fantastic, with thrilling choral work from the Kantorei Saarlouis, expert solo singing Julia Gooding, Jonathan Peter Kenney and Joseph Cornwell, and spirited playing from the Ensemble UnaVolta under Joachim Fontaine.