Handel Jacobs

With Water & Fire, B’Rock Orchestra and Dmitry Sinkovsky present Handel’s Water Music alongside his Music for the Royal Fireworks. Both spectacular works were written for royal open-air ceremonies, and may well have been drowned out by the noise of pyrotechnics and the waves of the Thames. Still, after Handel’s lifetime, they quickly became audience favourites. B’Rock performs these captivating suites with an ensemble that approaches the ca. 50 musicians that Handel originally employed, conveying the pomp and splendour of the occasion while also highlighting the coloristic richness and refinement of the score.

This inexpensive reissue, without libretto but including decent notes, is very welcome and establishes that wonderful Handel singers are not exclusive to our own times. Rene Jacobs is a known quantity as an alto, and he is at least the equal of the current crop (Daniels, etc); Isabelle Poulenard is even-toned and lovely, as is the agile and stylish Sophie Boulin, bright-voiced but never shallow sounding, as can be too easily encountered. Everything about this recording reflects the genius of the composer and these gifted modern interpreters. Lack of drama – well, that is a personal taste, but I find the sheer musicality is absorbing and satisfying.

This is the best recording so far of Partenope. Krisztina Laki is splendid in the lead role as is Helga Muller-Molinari as Rosmira and John York Skinner as Armindo. Rene Jacobs in the counter-tenor role of Arsace does a fine job considering the date of this recording. The orchestra plays with great vitality. This is the recommended recording of this opera.

Giulio Cesare proved by far the most popular of Handel’s operas, both originally and in modern revivals. Its straightforward plot and all-star original cast drew from Handel exceptional depth and subtlety in musical characterisation and lavish orchestral colours; Cleopatra’s seductive stage orchestra – harp, theorbo and viola da gamba with muted accompaniment from the pit – is unique. René Jacobs set the standard in 1991 (on Harmonia Mundi). By comparison, this is milder, more pensive. Bowman is superbly flexible – he seems to become ever more fluent over the years – yet less powerful and imperious than Jennifer Larmore, the earlier.

Rescue operas are not what one is used to associating with Handel, yet that, in a sense, is what this is. Costanza, a princess of Navarre, has been shipwrecked on Cyprus, where she now awaits the arrival of her betrothed, Richard the Lionheart (yes, the same). The island's tyrannical ruler, Isacio, fancies her for himself, however, and spends the entire opera trying to prevent the intended union from going ahead, first by sending Riccardo his daughter Pulcheria instead, and, when that has failed thanks to Pulcheria's brave entreaties, by imprisoning Costanza and declaring war. Only with his final defeat by Riccardo's army, aided by Pulcheria's own fiancé Oronte, do things finally turn out happily.

"Arias for mezzo soprano", it says, and authentically minded readers may already have noted that most of them would be sung by a countertenor these days, being originally for castrati. A little while ago I reviewed a record, "Arias for Farinelli", by Vivica Genaux, which came with a fascinating essay by René Jacobs in which he argued that the nearest we can get these days to the sound of the castrati is not the countertenor, which he rudely says should really be called a "falsettist", but the mezzo soprano, who is able to reproduce the strong, warm chest tones in her lower range which contemporary commentators tell us were at the base of the castrato voice production, the voice becoming sweeter and softer as it goes into the higher range.