Handel: Deborah

On this CD:

1. Deborah, oratorio, HWV 51
Composed by George Frideric Handel
Performed by Frankfurt Baroque Orchestra with Jelle Draijer, Elisabeth Scholl, Natacha Ducret
Conducted by Joachim Martini

Editorial Reviews
Amazon.com
Deborah is often described as a "pasticcio" piece because Handel plundered many of his previous works for material. Thus the opening of the much-loved Dixit dominus becomes the chorus "See the proud chief" (performed here at a breathlessly exciting pace); the opening of the Coronation Anthem The King Shall Rejoice becomes "The great King of Kings," which closes Part II; and even "La Rejouissance" from the Music for the Royal Fireworks makes an appearance in Part III. Handel's genius is such that with a little editing and tweaking, it all sounds unforced and entirely to the manner born. Joachim Carlos Martini responds to the score's exuberance with lively conducting and upbeat tempi, which give the whole package a young, fresh feel. Also, the fact that this is a live recording adds a frisson to the proceedings. The downside is that the performance space (the Kloster Eberbach) sounds like a large bathroom, and the microphones aren't placed with much sensitivity around the orchestra and soloists. However, countertenor Lawrence Zazzo is in fine form as the noble Barak, and Ewa Wolak is a barnstorming malevolent presence as the boastful Sisera. Unfortunately, the other soloists are variable, and the choir more enthusiastic than accurate. Overall, though, it's a reasonable budget buy. --Warwick Thompson

Tracks:

Wait A While
Lascia Che
Someone Like You
Tristezza
Angel Rays
Mon Ceur
Pie Jesu
Oblivion
You Raise Me Up
O Mio Babbino Caro
Ave Maria
Deborah's Theme (From Once Upon A Time In America)

Amazon.com

There's no arguing with the power of Sissel's voice. The Norwegian soprano brought James Horner's Titanic to life and blew people away at the Lillehammer Olympics' opening ceremony. Positioned as a classical crossover performer, Sissel's talent and versatility gets her into trouble. The 12-song My Heart bounces back and forth from Andrew Lloyd Webber to Franz Schubert, from Astor Piazolla to Ennio Morricone. These different composers are reconciled into one album by her talent. She's less successful with a so-so version "Ave Maria," but does better with Puccini's tear-jerker aria "O Mio Babbino Caro." Things go aesthetically awry when the singer (who has recorded folk music in the past) dives into folk-pop with "Angel Eyes" and then spin completely out of control on Richard Marx's "Someone Like You," which is a jarring stab at light R&B. Seemingly formulated by marketing team, My Heart may succeed at getting radio airplay in different formats, but it's an album that loses its way at times. --Tad Hendrickson

Customer Reviews:

MY HEART SISSEL.......2007-03-19

Sissel shows her versatilty and is an excellent CD with an excellent voice.Best I've heard in years

SHE'LL TAKE YOUR HEART.......2007-02-24

Once again, Sissel's crystal-clear, bell-like voice is complemented with beautiful songs & lush orchestrations. Among standouts: "Mon coeur s'ouvre a la voix," "O Mio Babbino Caro" and "Deborah's Theme." Sissel also does a beautiful job with "Pie Jesu," although I would have liked to have heard it as a duet. Even though there is not quite as diverse a repertoire as "Into Paradise" - which better showcases her voice (hence, the 4-star rating) - the album as a whole is wonderful and highly recommended.

Sub par for 'Goddess of Song'.......2007-02-07

The first Sissel CD I bought was "Into Paradise" where her astounding, sonorous tones are allowed full breadth of expression. This album, however, I was slightly disappionted in. The song selection does not appeal to me as well or emphasize her voice as fully. Still, as a record it is very lovely. It depends on what you expect...

Norwegian soprano.......2007-01-17

I love Sissel's voice. The range, depth and quality of her voice enhanses every song she sings. She expresses so much of what Norwegian culture and tradition mean.

A beautiful voice.......2007-01-04

I recently discovered Sissel via her CD, Into Paradise. I particularly like the compositions which allow Sissel to demonstrate her range. The songs Pie Jesu and Ave Maria being two good examples. There are some performances on this CD which edge easily into what might be called contemporary or popular music. This woman simply has a beautiful voice and is a pleasure to listen to.

Reel Chill: The Cinematic Chillout Album

Average customer rating:

"cinema's main stay themes prevail ~ City of Prague"

Reel Chill: The Cinematic Chillout Album

Manufacturer: Silva America
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Masses | Vocal Non-Opera | Opera & Vocal | Styles | Music

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Reel Love: The Cinematic Romance Album
Classical Chillout
Classic Chillout, Vol. 2
Ultimate Movie Album
Cinema Choral Classics

ASIN: B0002IQGT4
Release Date: 2004-08-10

Tracks:

Sarabande [From Barry Lyndon]
Main Theme [From Midnight Cowboy]
Promenade Sentimentale [From Dive] - Mark Ayres
May It Be [From the Lord of the Rings: The Fellowship of the]
Women of Ireland [From Barry Lyndon]
Adagio for Strings & Organ [From Gallipoli [
Romeo/Love Theme [From Romeo & Juliet)
Balcony Scene [From Romeo + Juliet]
Main Theme [From Chariots of Fire] - Mark Ayres
Main Theme [From Bilitis] - Mark Ayres
Main Theme [From Merry Christmas Mr. Lawrence] - Mark Ayres
Main Theme [From Cinema Paradiso]
Main Theme [From Once Upon A Time in the West]
Deborah's Theme [From Once Upon A Time in America]
Suite: The Mission/Gabriel's Oboe/On Earth as It Is in Heaven ... - City of Prague Philharmonic Orchestra, Crouch End Festival Chorus

Tracks:

Suite: Mountains and Sunsets/The Wedding/You Only Live Twice [From You
Heart Asks Pleasure First [From The Piano]
Agnus Dei [From Platoon] - Crouch End Festival Chorus
Vide Cor Meum [From Hannibal]
Adagietto from Symphony No. 5 [From DeAth in Venice]
Any Other Name/Dead Already [from American Beauty] - Rick Clark,
Into the West [From the Lord of the Rings: Return of the King]
Where Dreams Are Made [From Artificial Intelligence]
Main Theme [From Somewhere in Time]
We Have All the Time in the World [From on Her Majesty's Secret ...]
Electronic Battlefield [From Patriot Games]
Now We Are Free [From Gladiator]
Intermezzo from Cavalleria Rusticana [From Raging Bull]
Cavatina [From the DeErhunter]
Main Theme [From Out of Africa]

Customer Reviews:

"cinema's main stay themes prevail ~ City of Prague".......2004-08-15

What a crowning achievement to bring "Reel Chill:Cinematic Chillout Album", released by Silva America and featuring The City of Prague Philharmonic Orchestra and the Crouch End Festival Chorus ~ conductors are Mark Ayres, Paul Bateman, Rick Clark, James Fitzpatrick, Nic Raine and David Temple director of the chorus ~ one can only expect the highest quality of performances and quench the thirst of all "film-score-buffs".

Sit back and unleash the first disc with composers ~ Albinoni, Craig Armstrong, John Barry, Vladimir Cosma, Enya & Nicky Ryan, Handel, Francis Lai, Ennio Morricone, Sean O'Riorda, Nino Rota, Ryvichi Sakamoto and Vangelis ~ taking each film score cue "BILITIS", "CHARIOTS OF FIRE", "CINEMA PARADISO", "DIVA", "GALLIPOLI", "THE LORD OF THE RINGS:THE FELLOWSHIP OF THE RING", "BARRY LYNDON", "MERRY CHRISTMAS MR. LAWRENCE", "MIDNIGHT COWBOY", "THE MISSION", "ONCE UPON A TIME IN AMERICA", "ONCE UPON A TIME IN THE WEST", "ROMEO & JULIET" and "ROMEO + JULIET", with arrangements that soar and then simmer into pure meditation of grandeur ~ classic film music prevails, as orchestration comes to the surface with pure originality ~ one masterpiece after another is long last presented as it should have been, is cause for celebration ~ each cue is a distinctive gift for striking modernism, touching on the transition of the period in this planets history.

Second disc is waiting in the wings are composers ~ Samuel Barber, John Barry, Patrick Cassidy, James Horner, Mahler, Mascagni, Stanley Myers, Thomas Newman, Michael Nyman, Howard Shore, John Williams and Hans Zimmer/Lisa Gerrard ~ take a musical ride with "AMERICAN BEAUTY", "A.I. ARTIFICAL INTELLIGENCE", "DEATH IN VENICE", "DEER HUNTER", "GLADIATOR", "HANNIBAL", "THE LORD OF THE RINGS:RETURN OF THE KING", "ON HER MAJESTY'S SECRET SERVICE", "OUT OF AFRICA", "PATRIOT GAMES", "THE PIANO", "PLATOON", "RAGING BULL", "SOMEWHERE IN TIME" and "YOU ONLY LIVE TWICE" ~ our composers with passion and skill for exploring human emotions, coupled with a unique gift for striking exotic orchestral colors, make this with all it's splendor unforgettable ~ themes that ring with familiarity as each film comes to mind through music.

Silva America gives the collector a treasure of thirty film cues that any "film-score-buff" would die for ~ in the past James Fitzpatrick (producer), Reynold da Silva (executive producer), mastered by Rick Clark and David Stoner (release co-ordinator) have given us compilation with such expertise and this one is no exception ~ keep up the outstanding limited editions and deluxe package releases, with your signature tidbits for all film music fans that's in all of us...gotta love it!

Total Time: 2-CD-Set ~ Silva America 1161 ~ (8/10/2004)

Average customer rating:

Going for Baroque

The King's Consort Baroque Collection

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

Duets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Anthems | Vocal Non-Opera | Opera & Vocal | Styles | Music

Magnificats | Vocal Non-Opera | Opera & Vocal | Styles | Music

Masses | Vocal Non-Opera | Opera & Vocal | Styles | Music

Motets | Vocal Non-Opera | Opera & Vocal | Styles | Music

Odes | Vocal Non-Opera | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music

Passions | Vocal Non-Opera | Opera & Vocal | Styles | Music

Psalms | Vocal Non-Opera | Opera & Vocal | Styles | Music

Classical | Imports | Stores | Music

$6.99 and Under | Classical Music Blowout | Stores | Music

All Classical Music Blowout | Classical Music Blowout | Stores | Music

Opera & Vocal | Classical Music Blowout | Stores | Music
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The King's Consort Collection
Baroque Trumpet Concertos

ASIN: B000002ZDW
Release Date: 1997-09-09

Tracks:

Dixit Dominus
Welcome As The Dawn Of Day
Harlequinade & Aeolus
Who Is Like Unto Thee, O Lord?
Musette
Gloria in excelsis Deo
Esurientes implevit
To God Who Made The Radiant Sun
Hear My Prayer, O Lord
Andante From Trio Sonata In D Minor
Oh! Fair Cedaria
In Jehovah's Awful Sight
In furore iustissimae irae
Alla Hornpipe
Be Welcome Then, Great Sir
Country Dances I And II
Erbarme dich
Overture To The Summer's Absence Unconcerned
La Rejouissance
Salvator noster
Dona nobis pacem

Customer Reviews:

Going for Baroque.......2003-01-09

Here lies master collection from ten years and fifty discs of examples from baroque era performed by choirs, soloists and instrumentalists.

Conducted by energetic Robert King and his King's Consort, this is just superb!

Customer Reviews:

Robert King deserves to be famous in America, too.......2006-07-23

Robert King and his King's Consort have made dozens of recordings, establishing themselves in London as a pre-eminent Baroque group. They benefit greatly from King's unflagging energy and musical insight. Twenty years ago you couldn't say that the period movement had attracted the best musicians and conductors. That situation has changed radically, and this sampler CD from King's complete recordings exhibits first-class playing throughout. Baroque singing is at a high level, too, but you couldn't say that his singers are of Met or Royal Opera House quality--even so, they are very good.

As an indicator of the strides that period performance has made, this is an eye-opening CD, but it's also engaging for the general listener, like me, who only dips into Handel's many, many operas and oratorios occasionally.

Bargain-priced first-class overview.......2006-05-01

This is a great CD for beginners, but also for those who already have a few Handel CDs. So often samplers have all the favourites which you already have on other CDs. But this set has a few well-known tracks, such as Zadok the Priest, See the Conqu'ring Hero Comes and La Rejouissance from The Fireworks, but mostly wonderful music, superbly played which is not extremely well known.

Highly recommended.

Marian Anderson Rare and Unpublished Recordings, 1936 - 1952

Average customer rating:

Marian Anderson - an outstanding collection

Marian Anderson Rare and Unpublished Recordings, 1936 - 1952

Manufacturer: Video Artists Int'l
ProductGroup: Music
Binding: Audio CD

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General | Classical | Styles | Music

General | Folk | Styles | Music

General | Opera & Vocal | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

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Spirituals
Marian Anderson
Prima Voce - Marian Anderson / Shaw
He's Got the Whole World in His Hands
Paul Robeson Live at Carnegie Hall

ASIN: B00000C2C7
Release Date: 1999-11-30

Tracks:

Se Florindo E Fedele
Begrussung
Die Flote Weich Gefuhl
Die Forelle
Der Doppelganger
Wohin?
Der Jungling Und Der Tod
Der Erlkonig
Denn Es Gehet Dem Menschen
Ich Wandte Mich Und Sahe
O Tod, Wie Bitter Bist Du
Wenn Ich Mit Menschen
Befreit
Im Feld Ein Madchen Singt
Var Det En Drom?
When I Am Laid In Earth
O Men From The Fields
When Night Descends (In The Silence Of Night)
Elegie
Let Us Break Bread Together
My Soul's Been Anchored In De Lord
Trampin'
Sinner, Please Doan Let Dis Harves' Pass
Honor, Honor
The Cuckoo
Will O' The Wisp

Amazon.com

The rich-toned, musically elegant, always dignified contralto Marian Anderson (1897-1993) is probably best known as the first African-American to sing at New York's Metropolitan Opera House, but by the time she did (in the mid '50s), her once burnished, glorious voice was no longer at its best. Years before, when she was not permitted to sing in the Daughters of the American Revolution's Constitution Hall (or any other hall in the U.S. capital), she gave a concert in the open air, in front of the Lincoln Memorial, which was attended by press, dignitaries, and a crowd of more than 75,000. Much of her late work is well known--arias from Verdi's Un ballo in maschera, spirituals, and the like--but this CD also allows us to hear the voice when it was young--in the 1930s and '40s. One can almost hear Schubert's trout ("Die Forelle") dancing around in the water, and an aria by Scarlatti shows Anderson's coloratura abilities--the big voice could be scaled down to intimate, chamberlike proportions. She brings her intelligence and textual insights to other songs by Schubert and Brahms as well. This is a marvelous collection and a fine tribute to an American original. --Robert Levine

Customer Reviews:

Marian Anderson - an outstanding collection.......2003-05-03

This CD with recordings of Marian Anderson between 1936 and 1952, should be heavily promoted. The CD gives listeners a fantastic opportunity to hear the singer in a variety of song styles and languages. I heard her sing live, once, in the 1960's and was stunned then by her vocal skills and musicality. This is the first record or CD which truly reflects her amazing talent.

Vivaldi Edition: Le Quattro Stagioni (with bonus CD: Portrait)

Average customer rating:

Lives up to the reviews

Vivaldi Edition: Le Quattro Stagioni (with bonus CD: Portrait)

Manufacturer: Opus 111
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Magnificats | Vocal Non-Opera | Opera & Vocal | Styles | Music

Motets | Vocal Non-Opera | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music
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Vivaldi Edition: Concerto per archi
Vivaldi Edition: Vespri per l'Assunzione di Maria Vergine
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ASIN: B00006IWQR
Release Date: 2003-07-15

Customer Reviews:

Lives up to the reviews.......2006-03-11

This recording has gotten extremely positive reviews, and I feel
that it more than lives up to them. The Concerto Italiano plays with extreme sensitivity, and with unparalleled sweetness. Everything about their handling of accents and phrases really *is* unlike others'. They tend to linger in the moment, especially the violins, and announce the beauty of moment after moment. This is definitely not for everyone, understandably, and if you are in a musical hurry, this is decidedly not the recording for you. But if you would rather sip a glass of wine than gulp a beer, I think this might just be the merlot you've been looking for.

Average customer rating:

Handel: Xerxes

Manufacturer: Koch Schwann (Germ.)
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music
ASIN: B000001SOL
Release Date: 1994-09-14

Tracks:

Xerxes: Act I

Tracks:

Xerxes: Act II

Tracks:

Xerxes: Act III

Handel - Deborah / Y. Kenny · Gritton · Denley · Bowman · M. George · The King's Consort · King

Average customer rating:

THE OTHER BIBLE
Handel goes Tarentino and it is good

Handel - Deborah / Y. Kenny · Gritton · Denley · Bowman · M. George · The King's Consort · King
George Frideric Handel , Robert King , Yvonne Kenny , Susan Gritton , The King's Consort , Oxford Choir of New College , Choiristers of Salisbury Cathedral , Catherine Denley , James Bowman , Michael George , and Colin Campbell, Adrian Peacock Mark Milhofer
Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music

Classical | Imports | Stores | Music

Opera & Vocal | Imports | Stores | Music
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Handel - Joshua / Kirkby, Bowman, Oliver, Ainsley, George, The King's Consort
Handel: Joseph and his Brethren / Robert King
Handel - Alexander Balus / Denley, George, C. Daniels, Dawson, McFadden, The King's Consort
Samson
Choice of Hercules

ASIN: B000002ZX6
Release Date: 1994-02-23

Tracks:

Deborah: Part The First: Ouverture: Grave - Allegro - Minuet
Deborah: Part The First: Scene I: Chorus
Deborah: Part The First: Scene I: Deborah And Barak Recitative
Deborah: Part The First: Scene I: Barak & Deborah Duet
Deborah: Part The First: Scene I: Chorus
Deborah: Part The First: Scene I: Barak Recitative
Deborah: Part The First: Scene I: Soli & Chorus
Deborah: Part The First: Scene I: Deborah Recitative
Deborah: Part The First: Scene I: Chorus
Deborah: Part The First: Scene I: Deborah Recitative
Deborah: Part The First: Scene I: Chorus
Deborah: Part The First: Scene I: Barak Recitative
Deborah: Part The First: Scene I: Barak Air
Deborah: Part The First: Scene II: Jael Recitative
Deborah: Part The First: Scene II: Deborah Air
Deborah: Part The First: Scene II: Jael Recitative
Deborah: Part The First: Scene II: Jael Air
Deborah: Part The First: Scene III: Abinoam Recitative
Deborah: Part The First: Scene III: Abinoam Air
Deborah: Part The First: Scene III: Barak Recitative
Deborah: Part The First: Scene III: Barak Air
Deborah: Part The First: Scene III: Chorus
Deborah: Part The First: Scene IV: Herald Recitative
Deborah: Part The Second: Scene I: Chorus
Deborah: Part The Second: Scene I: Chorus
Deborah: Part The Second: Scene I: Sisera Recitative
Deborah: Part The Second: Scene I: Sisera Air
Deborah: Part The Second: Scene I: Deborah Recitative
Deborah: Part The Second: Scene I: Deborah Air
Deborah: Part The Second: Scene I: Sisera Recitative
Deborah: Part The Second: Scene I: Sisera Air
Deborah: Part The Second: Scene I: Barak Air

Tracks:

Deborah: Part The Second: Scene I: Chief Priest Of Baal
Deborah: Part The Second: Scene I: Chorus Of Baal's Priests
Deborah: Part The Second: Scene I: Chief Priest Of The Israelites Recitative
Deborah: Part The Second: Scene I: Chorus Of Israelites
Deborah: Part The Second: Scene I: Deborah Recitative
Deborah: Part The Second: Scene I: Soli & Chorus
Deborah: Part The Second: Scene I: Barak Recitative
Deborah: Part The Second: Scene I: Barak Air
Deborah: Part The Second: Scene I: Abinoam Recitative
Deborah: Part The Second: Scene I: Abinoam Air
Deborah: Part The Second: Scene I: Israelite Woman Recitative
Deborah: Part The Second: Scene I: Israelite Woman Air
Deborah: Part The Second: Scene I: Deborah Recitative
Deborah: Part The Second: Scene I: Jael Air
Deborah: Part The Second: Scene I: Deborah Recitative
Deborah: Part The Second: Scene I: Deborah & Barak Duet
Deborah: Part The Second: Scene I: Chorus
Deborah: Part The Third: Scene I: A Grand Military Symphony
Deborah: Part The Third: Scene I: Israelite Woman Recitative
Deborah: Part The Third: Scene I: Israelite Woman Air
Deborah: Part The Third: Scene II: Abinoam Recitative
Deborah: Part The Third: Scene II: Abinoam Air
Deborah: Part The Third: Scene II: Jael Recitative
Deborah: Part The Third: Scene III: Chorus Of Baal's Priests
Deborah: Part The Third: Scene III: Israelite Woman Air
Deborah: Part The Third: Scene III: Barak Recitative
Deborah: Part The Third: Scene III: Jael Air
Deborah: Part The Third: Scene III: Deborah Recitative
Deborah: Part The Third: Scene III: Deborah Air
Deborah: Part The Third: Scene III: Barak Recitative
Deborah: Part The Third: Scene III: Barak Air
Deborah: Part The Third: Scene III: Deborah Recitative
Deborah: Part The Third: Scene III: Chorus

Amazon.com

Deborah is one of Handel's earliest oratorios, and it contains a lot of music recycled from other pieces--not that it really matters with Handel, who recycled whole works by other composers into some of his other oratorios. The real reason the piece has never caught on is the plot, in which the heroine lures her enemy into her tent, seduces him (we presume), then nails him to the floor with a tent peg through the brain. OK, so it isn't The Omen, but it's as close as Handel ever got. Fine performance, fun music, disgusting story. That's life. --David Hurwitz

Customer Reviews:

THE OTHER BIBLE.......2007-03-07

Judges 4 is not a chapter of holy scripture that is often selected as a sermon-text. The incident in which Jael, wife of Heber the Kenite, invites the vanquished Canaanite general Sisera into her tent and skewers his head to the floor with a tent-peg while he sleeps is not actually a more gory episode than many in the Old Testament: what really keeps the passage off-limits is the suspicion that she may have seduced him. Myself, I am not at all convinced of this. Sisera was no doubt exhausted, and quite likely not in the mood for anything more passionate than the bowl of milk that Jael had provided and owns up to. One way or the other, the tent-peg assassination dominates the comment I have been reading about the libretto of Deborah, but it would be a complete mistake to think that it dominates the libretto itself, still less the music. It is passed over summarily in a single recitative near the end of an oratorio that is about other issues entirely.

The entire process of the composition of Deborah took place in conditions of frantic haste. This was the case not only with Handel but also with his librettist Samuel Humphreys. Robert King, in his typically fine liner-note, finds that the time-pressure shows in the libretto which seems to him a succession of tableaux, but I have a better opinion of it. The libretto of Solomon is my own idea of a series of tableaux and disconnected episodes, whereas that of Deborah by accident or design contrives to form a very coherent framework for an oratorio. The buildup of tension between the enslaved Israelites and their Canaanite masters, the dramatic reflections and proclamations of the main participants, and the choral episodes alternately extolling the respective deities and commenting on the situation as it develops - all this makes fine oratorio material, and it is all better without battles and whatnot in my own opinion. As for the tale of the tent-peg, with its foreshadowing of Dinsdale Piranha in the Monty Python sketch, I doubt it would make the slightest difference if the recitative in which it gets its solitary mention were simply left out.

In fact Handel's Deborah seems to me a highly successful effort, for all the difficult circumstances of its composition. How much of the music was freshly composed for it I can't tell from King's commentary. Clearly, a great deal was recycled, but it would be another mistake to think that this was some mechanical or automatic process. Some numbers are indeed lifted note-for-note from elsewhere, but in others there has been substantial recomposition. King is fascinating on this topic if less clear than he might have been, but my own feeling is that absolutely nothing has been incorporated in any careless or insensitive way, and indeed I note that King feels that the music to the chorus 'Despair all around them' near the end of Act I is better suited to its new text here than to its source in one of the coronation anthems. The music, wherever it came from in Handel's other oeuvre, is uniformly excellent and sometimes superlative, and perhaps my own prize would go to the awesome chorus Lord of Eternity in Act II. I never find in Handel the contemplative tone that so characterises Bach, but Handel has another approach to the Almighty, and when Handel's chorus sings 'Lord of Eternity', there He is, more surely in front of us than even Michelangelo could depict Him.

The choral work is exceptionally important, even for Handel, in this oratorio, and much of it is exceedingly grandiose and big-scale in its scoring. The contributions of the choir of New College and the Salisbury Cathedral choristers are exemplary, but if I have one slight disappointment with this set it is that the recording is less vivid and immediate than I have got used to from other productions in King's great Handel series. There is nothing really 'wrong' with the sound, and I'm finding that a high volume-setting helps, but I still can't help thinking it a slight pity that the engineers have chosen to be a little demure in Deborah of all the oratorios. As for the soloists, I have not a word of criticism to offer. They are all in fine voice, and they all have fine voices to be in. In particular the two sopranos offset each other superbly, but if I were to award another of my individual prizes I think it might go to the gorgeous velvet tones of Michael George in his aria 'Tears' in the final act. The instrumental playing is excellent without exception, but when all is said and done my Man of the Match has to be Robert King himself. He has edited the score for performance, he directs with sympathy and expertise, and he gives us another of his fine and endearingly enthusiastic essays for our guidance. We need to forget the tent-pegs and seductions and take this issue as seriously as it deserves and demands to be taken.

Handel goes Tarentino and it is good.......2004-07-22

The year 1732 had ended dismally for Handel. Once the toast of London, master of Italian Opera and in snug with the Crown and the rest of London's music besotted Royalty (cognoscenti and dilettantes both), a reaction against Italian Opera had assumed fever pitch with the production of John Gay's Beggar's Opera and the newly formed "Opera of the Nobility". Handel's well-heeled friends were deserting him and his purse was thin. In desperation, on May 2 of that year, a reworked version of a 1718 Masque entitled Esther was presented without dramatic staging. It was modestly successful, enjoying 6 performances. It enabled Handel to pocket 700 Pounds which he promptly invested in a South Seas venture. Thus was Handellian Oratorio born.

So in 1733, realizing that Italian Opera was probably dead for now yet unwilling to take the hint that Opera in England should be written IN English, Handel took advantage of his small success with Esther and hurriedly composed (assembled is perhaps more accurate) a second Oratorio to a libretto by Samuel Humphreys based on the Book of Judges, chapter 4. The chosen story is gruesome, perhaps reflecting Handel's mood and desire for revenge, if only artistic. The Israelites, 20 years captive, are told by the prophetess Deborah that Sisera, the Canaanite commander, will be killed by a woman. After they go to war, Sisera dutifully flees the battlefield seeking sanctuary in the tent of the beautiful young Jael, wife of Heber the Kenite. She protects him, gives him a bowl of milk, then seduces him. Obviously weary (and full of milk), Sisera falls asleep in her arms. While he sleeps soundly, Jael rises stealthily and nails his head to the ground with a tent peg. General rejoicing and alarums follow with Jael praised by one-and-all for her nobility and wicked mallet hand. That is one zany plot for an Oratorio.

The libretto itself is somewhat sketchy, indicating the haste with which it was written. Handel's music is assembled from several sources, including the Coronation Anthems, the Chandos Anthems, the Birthday Ode for Queen Anne and Dixit Dominus. The scoring of Deborah is expansive. Handel utilizes an eight-part choir and a large orchestra containing strings, oboes, bassoons, flutes, three horns, three trumpets, timpani, harpsichord and two organs. There are also ripieno lines for cellos and bassoons and detailed instructions for the disposition of the keyboard instruments.

This recording, another in Robert King's superlative series of Handel's lesser known Operas and Oratorios, features the same high level of performance. The King's Consort plays beautifully. They are a band with exquisite finesse, easily my favorite Baroque orchestra. The Choir of New College, Oxford and the Choristers of Salisbury Cathedral are perfection. This music is in their bones. The assembled cast, one often associated with Mr. King, make the most of what is a rather thin libretto. Soprano Yvonne Kenny is fine as Deborah. Soprano Susan Gritton is a winning and seductive manslaughter-minded Jael. Catherine Denley, mezzo-soprano, is the lactose intolerant Sisera. Countertenor James Bowman, an old hand to this repetoire, is Barak. He is in particularly fine voice here.

The recording itself is bright, warm and clear. Sonics are broad and deep, with a nice illusion of space. This is a great performance of an historically important work by Handel. If you like your Handel seasoned with finesse and taste, you will enjoy this recording. Strong recommendation and 5 stars for another significant release by Hyperion.

Average customer rating:

Early Handel Oratorio well performed

Handel: Deborah

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music

Handel - Athalia / E. Scholl · Schlick · Holzhausen · Reinhold · Brutscher · MacLeod · Martini
Handel: Solomon

ASIN: B00005U4W6
Release Date: 2002-03-19

Tracks:

Overture
Chorus: Immortal Lord Of Earth And Skies
Recitative
Duet: Where Do Thy Ardours Raise Me?
Chorus: Forbear Thy Doubts!
Recitative
Soloists And Chorus: For Ever To The Voice Of Pray'r
Accompanied Recitative
Chorus: O Hear Thy Lowly Servants' Pray'r
Recitative
Chorus: O Blast With Thy Tremendous Brow
Recitative
Air: How Lovely Is The Blooming Fair
Recitative
Air: Choirs Of Angels, All Around Thee
Recitative
Air: To Joy He Brightens My Despair
Recitative
Air: Awake The Ardour Of Thy Breast
Recitative
Air: All Danger Disdaining
Chorus: Let Thy Deeds Be Glorious
Recitative
Air: Hateful Man
Air: My Vengeance Awakes Me
Recitative
Air: Cease, O Judah, Cease Thy Mourning
Chorus: Despair, All Around Them
Chorus: Alleluia

Tracks:

Chorus Of The Israelites: See, The Proud Chief
Recitative
Air: At My Feet Extended Low
Recitative
Air: In Jehova's Awful Sight
Recitative
Air: Whilst You Boast The Wondrous...
Air: Impious Mortal, Cease To Brave Us
Recitative
Chorus Of Baal's Priests: O Baal, Monarch Of The Skies!
Recitative
Chorus Of The Israelites: Lord Of Eternity
Chorus Of The Israelites: Plead Thy Just Cause
Recitative
Soloists And Chorus: All Your Boast Will End In Woe
Recitative
Air: In The Battle, Fame Pursuing
Recitative
Air: Swift Inundation Of Desolation
Recitative
Air: No More Disconsolate I'll Mourn
Recitative
Air: O The Pleasure My Soul Is Possessing
Recitative
Duet: Smiling Freedom
Chorus: The Great King Of Kings Will Aid Us Too

Tracks:

A Military Symphony
Chorus Of The Israelites: Now The Proud Insulting Foe
Recitative
Air: Now Sweetly Smiling Peace Descends
Recitative
Air: Tears, Such As Tender Fathers Shed
Recitative
Air: Hark! Hark! Hark! His Thunders...
Chorus Of Baal's Priests: Doleful Tidings
Air: Our Fears Are Now For Ever Fled
Recitative
Air: Tyrant, Now No More We Dread Thee
Recitative
Air: The Glorius Sun Shall Cease To Shed
Recitative
Air: Low At Her Feet He Bow'd, He Fell
Accompanied Recitative
Symphony
Chorus: Let Our Glad Songs To Heav'n Ascend

Amazon.com

Deborah is often described as a "pasticcio" piece because Handel plundered many of his previous works for material. Thus the opening of the much-loved Dixit dominus becomes the chorus "See the proud chief" (performed here at a breathlessly exciting pace); the opening of the Coronation Anthem The King Shall Rejoice becomes "The great King of Kings," which closes Part II; and even "La Rejouissance" from the Music for the Royal Fireworks makes an appearance in Part III. Handel's genius is such that with a little editing and tweaking, it all sounds unforced and entirely to the manner born. Joachim Carlos Martini responds to the score's exuberance with lively conducting and upbeat tempi, which give the whole package a young, fresh feel. Also, the fact that this is a live recording adds a frisson to the proceedings. The downside is that the performance space (the Kloster Eberbach) sounds like a large bathroom, and the microphones aren't placed with much sensitivity around the orchestra and soloists. However, countertenor Lawrence Zazzo is in fine form as the noble Barak, and Ewa Wolak is a barnstorming malevolent presence as the boastful Sisera. Unfortunately, the other soloists are variable, and the choir more enthusiastic than accurate. Overall, though, it's a reasonable budget buy. --Warwick Thompson

Customer Reviews:

Early Handel Oratorio well performed.......2004-09-21

Even though this was one of his first oratorios composed when he was in his earlt twenties, Handel's Deborah is truly a masterpiece. Handel's best oratorios contain a dramatic tension from beginning to end. The team assembled by Naxos do an incredible job from soloists to chorus.
I do own a few oratorios by the King Consort who have released the only other Deborah availale. Since I have a limited budget I have not listen to that version, but I can't imagine that it could be any better.
If you love Handel and want to explore his early works you will not be disappointed with this well executed masterpiece.

The James Bowman Collection / Bowman, The King's Consort

Average customer rating:

James Bowman forever

The James Bowman Collection / Bowman, The King's Consort
George Frederick Handel
Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music

Choruses | Vocal Non-Opera | Opera & Vocal | Styles | Music

Motets | Vocal Non-Opera | Opera & Vocal | Styles | Music

Odes | Vocal Non-Opera | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music

Passions | Vocal Non-Opera | Opera & Vocal | Styles | Music

Te Deum | Vocal Non-Opera | Opera & Vocal | Styles | Music

Classical | Imports | Stores | Music

4-for-3 Classical | 4-for-3 Music | Stores | Music

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4-for-3 Opera & Vocal | 4-for-3 Music | Stores | Music
ASIN: B000002ZDV
Release Date: 1996-05-21

Tracks:

Erbarme dich - Bach
'Handel English Arias': Almighty Power - Handel
'Complete Odes And Welcome Songs' Volume 8: Britain, Thou Now Art Great - Purcell
'Handel English Arias': Yet Can I Hear That Dulcet Lay - Handel
'Awake Sweet Love': Anon - Come Tread The Paths - James Bowman
'Handel Italian Duets': Crudeltontananza - Handel
'Countertenor Duets And Solos By Purcell And Blow': O Solitude, My Sweet Choice - Purcell
'Bach Cantatas For Solo Alto': Stirb in mir - Bach
'Handel Deborah': Impious Mortal - Handel
'Purcell Complete Odes And Welcome Songs' Volume 1: By Beauteous Softness Mixed - Purcell
'Schutz Christmas Story And Gabrieli Christmas Motets': O Magnum Mysterium - Gabrieli
'Handel English Arias': Tune Your Harps - Handel
'Awake Sweet Love': Since First I Saw Your Face - James Bowman
'Handel English Arias': Welcome As The Dawn Of Day - Handel
'Mr. Henry Purcell's Most Admirable Composures': An Evening Hymn - Purcell
'Handel The Occasional Oratorio': Thou Shalt Bring Them In - Handel
'Couperin Trois Lecons de Tenebres': Jerusalem, convertere - Couperin
'Handel Heroic Arias': Or la tromba - Handel
'Purcell Complete Secular Solo Songs' Volume 1: On The Brow Of Richmnd Hill - Purcell
'Handel Music For Ceremonial Occasions': Handell - Eternal Source Of Light - James Bowman
'Purcell Complete Anthems And Services' Volume 2: Vouchsafe, O Lord, To Keep Us This Day - Purcell

Customer Reviews:

James Bowman forever.......2000-06-29

An article title about James Bowman said "A singer in high places" - and it's so true.

James Bowman is a great singer, and one of my favourite performers. One can listen to his CDs over and over again, without tiring.

He feels at home in both English songs and other languages. This CD is a "summary" of some other collection CDs of him.

ýIN SHORT: Good buy for lovers of vocal music, or the baroque and classical. If you don't know his singing, you're missing a lot, and this CD is a great start.

Music Review:

Music Review

music review

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