Handel - Serse

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Label: Linn

Cat No: CKD709

Format: CD

Number of Discs: 3

Genre: Opera

Release Date: 2nd June 2023

Works

Handel, George Frideric

Serse (Xerxes), HWV40

Artists

Emily D’Angelo (mezzo-soprano)
Lucy Crowe (soprano)
Mary Bevan (soprano)
Paula Murrihy (mezzo-soprano)
Daniela Mack (mezzo-soprano)
Neal Davies (bass-baritone)
William Dazeley (baritone)
The English Concert

Conductor

Harry Bicket

Works

Handel, George Frideric

Serse (Xerxes), HWV40

Artists

Conductor

Harry Bicket

About

Each new Handel release by The English Concert and Harry Bicket is a milestone in the composer’s discography, and the latest, Serse – ‘a spectacular treat for Handel lovers’ (The Times) – is no different. Created to astonish London audiences in 1728, Handel’s romantic and at times comic opera Serse is a spectacular drama of love, war, power and civil engineering set in ancient Persia, whose opening aria ‘Ombra mai fu’ remains an enduring favourite. Serse rules a vast empire, but the human heart is more difficult to command, and sometimes the beauty of a plane tree is the only constant in a dangerous world. The work is complemented by a world-class cast including the ‘barnstorming’ (The Daily Telegraph) Emily D’Angelo as the lovestruck king and Lucy Crowe as Romilda.

Cast:
- Serse: Emily D’Angelo (mezzo-soprano)
- Arsamene: Paula Murrihy (mezzo-soprano)
- Amastre: Daniela Mack (mezzo-soprano)
- Romilda: Lucy Crowe (soprano)
- Atalanta: Mary Bevan (soprano)
- Aroidate: Neal Davies (bass-baritone)
- Elviro: William Dazeley (baritone)

Sound/Video

Paused

1

Ouverture
2

Act I: Aria. Ombra mai fu (Serse)
3

Act I: Sinfonia e Recitativo. Sento un soave concento (Arsamene, Elviro)
4

Act I: Aria. O voi (Romilda, Arsamene, Elviro, Serse)
5

Act I: Recitativo. Arsamene (Serse, Arsamene)
6

Act I: Aria. Io le dirò che l’amo (Serse, Arsamene)
7

Act I: Aria. Sì, sì, mio ben (Atalanta)
8

Act I: Aria. Meglio in voi col mio partire (Arsamene)
9

Act I: Aria. Di tacere (Serse)
10

Act I: Aria. Nemmen coll’ombre (Romilda)
11

Act I: Aria. Se cangio spoglia (Amastre)
12

Act I: Aria. Soggetti al mio volere (Aroidate)
13

Act I: Aria. Più che penso (Serse)
14

Act I: Aria. Non so se sia la speme (Arsamene)
15

Act I: Aria. Saprà delle mie offese (Amastre)
16

Act I: Aria. Se l’idol mio (Romilda)
17

Act I: Aria. Un cenno leggiadretto (Atalanta)
18

Act II: Arioso. Speranze mie fermate (Amastre)
19

Act II: Arioso. Ah, chi voler fiora (Elviro)
20

Act II: Recitativo. E chi direbbe mai (Elviro, Amastre)
21

Act II: Aria. Or che siete (Amastre)
22

Act II: Arioso e Recitativo. A piangere ogn’ora (Atalanta, Elviro)
23

Act II: Arioso. È tormento troppo fiero (Serse)
24

Act II: Aria. Dirà che amor (Atalanta)
25

Act II: Aria. Dirà che non m’amò (Atalanta)
26

Act II: Aria. Se bramate d’amar (Serse)
27

Act II: Aria. È gelosia (Romilda)
28

Act II: Aria. Anima infida (Amastre)
29

Act II: Aria. Quella che tutta fé (Arsamene)
30

Act II: Arioso. Per dar fine alla mia pena (Arsamene)
31

Act II: Aria. Sì, la voglio (Arsamene)
32

Act II: Aria. Voi mi dite (Atalanta)
33

Act II: Aria. Il core spera e teme (Serse)
34

Act II: Aria. Del mio caro Bacco amabile (Elviro)
35

Act II: Duettino. Gran pena è gelosia! (Serse, Amastre)
36

Act II: Aria. Val più contento core (Romilda)
37

Act II: Aria. Chi cede al furore (Romilda)
38

Act III: Sinfonia
39

Act III: Recitativo. Sono vani (Arsamene, Romilda, Atalanta, Elviro)
40

Act III: Aria. No, no, se tu mi sprezzi (Atalant)
41

Act III: Aria. Per rendermi beato (Serse)
42

Act III: Aria. Amor, tiranno Amor (Arsamene)
43

Act III: Aria. Del Ciel d’amore (Ariodate)
44

Act III: Recitativo. Il suo serto rifiuto (Romilda, Serse, Amastre)
45

Act III: Aria. Cagion son io (Amastre)
46

Act III: Duetto. Troppo oltraggi la mia fede (Romilda, Arsamene)
47

Act III: Coro. Ciò che Giove destinò (Ministri)
48

Act III: Recitativo. Se ne viene Ariodate (Serse, Ariodate)
49

Act III: Aria. Crude furie (Serse)
50

Act III: Recitativo. Perfidi! (Tutti)
51

Act III: (Aria e Coro) Caro voi siete all’alma (Romilda)

Europadisc Review

First produced at the King’s Theatre, Haymarket, on 15 April 1738, Handel’s Serse (aka ‘Xerxes’) was a famous flop, defying the expectations of audience and critics for an opera seria with its ironic mixture of tragi-comedy and buffoonish farce. It was not until a Göttingen production in July 1924 that the work was revived, but it then took the opera houses of Germany by storm, and from the 1960s onwards that success was further consolidated with several high-profile international productions. British opera-goers still have fond memories of Nicholas Hytner’s witty 1985 ENO production for the Handel tercentenary, starring Ann Murray and Valerie Masterson, and stylishly conducted by veteran Handelian Charles Mackerras. These days, it is probably Handel’s most popular opera.

Serse’s original negative reception was only one reason for its neglect. Another was its unusually demanding requirements for seven top-drawer singers. In the 20th and 21st centuries – more receptive to the decidedly postmodern ironies of the plot – any production that can put together the right team is virtually assured of success. This new recording from The English Concert under the direction of Harry Bicket – a continuation of their critically-acclaimed Handel series on the Linn label – achieves just that, and is released ahead of next year’s centenary of Serse’s modern revival.

The cast is headed by the young Canadian mezzo-soprano Emily D’Angelo as the titular Persian king (a role originally sung by the celebrated castrato Caffarelli). Her rich, slightly veiled tone suggests a monarch aloof, or at the very least detached from the concerns of those around him. Detached enough to sing paeans of praise to a plane tree that provides him with shade, as in his dreamy opening aria ‘Ombra mai fu’ (universally known as ‘Handel’s Largo’, but actually marked Larghetto). But then love’s thunderbolt strikes, in the shape of Romilda (soprano Lucy Crowe), innocently mocking the king’s arboreal transports. From this, all sorts of confusions and interlocking love triangles are (to continue the horticultural theme) sown.

D’Angelo’s voice is heard at its most impressive in her bravura arias – ‘Se bramate d’amar’ in Act 2 (the initial link in a highly dramatic chain of numbers that bucks the overarching tragi-comic atmosphere) and, perhaps most staggering of all, the Act 3 invocation ‘Crude furie’ before Serse realises the folly of his ways. It’s a noble assumption of a difficult title role that ultimately wins not just artistic admiration aplenty but also the listener’s sympathies.

Lucy Crowe’s Romilda, meanwhile, is shimmeringly crystalline, with gleaming top notes and some intriguing ornamentation (as in the ‘B’ section of her Act 1 aria ‘Se l’idol mio’). She perfectly conveys the anguish of a woman at the mercy of the attentions of a powerful ruler, but also an underlying determination to stay true to her own love, Serse’s brother Arsamene. That role is taken by mezzo Paula Murrihy, her more sharply defined tone usefully contrasting with that of Serse (this is not one of those confusing audio recordings where all the soloists sound alike). Arsamene’s Act 1 aria ‘Non so se sia la speme’ is exceptionally moving, thanks in part to some deftly deployed theorbo continuo playing. Completely contrasted in mood is the character’s resolute Act 2 aria ‘Sì, la voglio’, as brilliant in tone as the orchestral accompaniment.

As Serse’s jilted fiancée, the foreign princess Amastre (who spends much of the opera disguised as a man), mezzo-soprano Daniela Mack is another utterly distinctive member of the cast. She possesses a remarkable chest register as well as pinpoint top notes, as heard in the Act 1 ‘Saprà delle mie offese’, while there are fireworks aplenty in her Act 2 aria ‘Anima infida’. Soprano Mary Bevan brings more than just the usual coquettishness to the part of Romilda’s water-muddying sister Atalanta (herself in love – not reciprocated – with Arsamene). This is luxury casting indeed, and indicative of the high standards all round. Bass-baritone Neal Davies is an imposing presence as the somewhat clueless general Ariodate, father of Romilda and Atalanta, while baritone William Dazeley is splendidly blustery in the buffo role of Arsamene’s servant Elviro.

Under Bicket’s sure-footed direction, the pace is kept lively, but it opens up beautifully for the more emotionally searching numbers, and Bicket’s ability to highlight interesting facets of the score (such as the middle-register strings in Amastre’s ‘Or che siete’) shines new light on Handel’s relatively restrained but always telling scoring. The English Concert are on top form, from the workhorse strings to the wonderfully stylish recorders that feature early on in Act 1, while the chorus – which plays a small but crucial role in each of the opera’s three acts – is spirited in its contributions, aided by brass and timpani.

With expert notes from David Vickers and a comparably fine recording made in All Saints’ East Finchley, this is a performance of Serse that reveals new delights on each subsequent listening. It captures not just the tragi-comic irony of this beloved work, but also the depth and humanity of its characters – something which, for all the historic liberties of the plot, seems to be at the heart of Handel’s intent here. As a celebration of next year’s centenary, the set could not be more welcome.

Reviews

Handel’s music is wonderfully virile and dramatic. So are the performances from director Harry Bicket’s English Concert and the excellent soloists lined up for the group’s latest dive into Handel’s operatic wonderland. ... Emily D’Angelo’s mezzo is the first voice we hear, robust and vibrant, fitting enough for the headstrong Xerxes. The singer who really excels, though, is Lucy Crowe, radiating steadfast purity of tone as Romilda, unfortunate object of Xerxes’ obsession.

The Times

As Serse, mezzo Emily D’Angelo demonstrates real range from forceful to flirtatious. Soprano Lucy Crowe as Romilda, Serse’s obsession seems intensely connected with the character and produces some sparkling singing, Arsamene mezzo Paula Murrihy is a perfect partner for Crowe. ... Brilliant entertainment.

Record Review (BBC Radio 3) 10 June 2023

There have been other recordings of Serse, notably those conducted by Nicholas McGegan and William Christie, but this one more than holds its own. ... Harry Bicket conducts a performance as vividly alive as the opera must have seemed when it was new.

Financial Times

The superb cast is led by Emily D’Angelo in the title-role, whose opening aria will not disappoint: beautifully controlled and rich in tone, it’s an entrance aria like no other – a powerful king singing about the beauty of a tree. Bicket’s tempo may not wallow but D’Angelo certainly basks in the long melodic lines... A special mention must be made of the orchestra and their silvery string tone. ... this new Serse is surely one of the most charismatic recordings now available. Edward Breen (Recording of the Month)

Gramophone July2023

As a conductor of baroque music, as well as a harpsichordist, Harry Bicket ranges widely, with Handel at the heart of his repertoire. His latest Handel recording on Linn, with his English Concert, is Serse (Xerxes), which bowls along energetically, the orchestral playing especially rewarding. In a top Handelian cast... Lucy Crowe (Romilda), Paula Murrihy (Arsamene) and Mary Bevan (Atalanta) are masterly and nuanced, with Daniela Mack, Neal Davies and William Dazeley adding stylish character. Fiona Maddocks

The Observer 4 June 2023

Bicket leads a mercurial performance, light of touch and illuminating of detail, and the playing is responsive.

Opera Now August 2023

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Handel - Serse

In stock - available for despatch within 1 working day

Despatch Information

Contents

Works

Artists

Conductor

Works

Artists

Conductor

About

Sound/Video

Paused

Europadisc Review

Reviews