Winton Dean

This 2009 live performance by German-based chamber ensemble Musica Saeculorum under the direction of Philipp von Steinaecker is a pure, polished recording; sharply defined and alternately musical and muscular in it's sensibility. Despite their German origin, this is a English language performance, with nary a hint of accent detectable; indeed, this is a sparkling performance from all involved, with crisp diction, razor-sharp attacks and both the orchestral and choral forces moving as one. Tenor Daniel Johannsen is electrifying in his solos, with crystal-clear singing and a heroic tone. Bass Dominik Wörner is similarly potent in his arias, bringing high drama and technique to his arias.

The libretto of Solomon, author unknown, is strange. Much of Act 1 is devoted to an epithalamium celebrating the wedding of Solomon and an Egyptian princess whom we do not meet again. (The Victorians used to bowdlerize some of the words.) Act 2, much the most dramatic, tells how Solomon solved the famous maternity suit (but how could the false mother agree to the baby's bisection?). Act 3 tells how Solomon stagemanaged and contributed to a short choral masque presented for the entertainment of the Queen of Sheba in return for presents of gold. According to Winton Dean the masque cries Out to be mimed, but even so there is less drama in Solomon than in some of the other oratorios and no overall plot. In 1749, the same soprano, the Italian Frasi, sang both queens, but the parts are better split axon these discs. The soloists are excellent.

Winton Dean, the, ahem, dean of modern Handel scholarship, considered Joseph and His Brethren one of Handel's weakest oratorios. Don't believe it: the music is wonderful, and even the libretto isn't nearly as bad as Dean makes out. The King's Consort gives the same high-quality performance it always gives to Handel's oratorios. James Bowman sounds particularly comfortable in the title role; while all the soloists are good, soprano Yvonne Kenny (who gets all the best arias) is terrific. –Matthew Westphal

Hyperion is delighted to present a tour de force from the supreme mezzo-soprano of today, Alice Coote, accompanied by The English Concert and Harry Bicket, making their Hyperion debut. Coote performs a selection of Handel’s greatest arias from opera and oratorio, employing an extraordinary range of vocal and dramatic colour, tone and emotion to produce triumphant and moving interpretations of these masterpieces.