Handel: Herculesby Anonymous

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November 27, 2004: One of Handel's more intriguing and epic oratorios, "Hercules" examines the power of jealousy and its fatalistic ramifications using the last hours of the mythic hero's life as the central focus of the story. Wrapped in Handel's wondrous, mood-shifting music and marked by an extremely theatrical sense of character-driven drama, this three-disc set boasts a stellar cast lending their voices to some of his most breathtaking arias. Amazingly, this elaborate piece was a bomb when it first premiered in London in 1744, but fortunately it has survived and its reputation enhanced through the succeeding centuries to become one of Handel's most respected works. The title role is played with great authority by Israeli bass-baritone Gidon Saks, who imbues the role with the requisite vocal power which is especially clean at the top. He also displays a surprising sense of vulnerability, and this combination is particularly affecting when he sings about dealing with his mentally unstable wife, Dejanira. His big aria in Act II, "Alcides' name in latest story" reflects not only his character's imminent fate but also his strong heroic sense, which effectively highlights Saks' powerful chest voice. Even though Hercules is the focal role, it is Dejanira that dominates the dramatic currents in the story. Luckily, she is played by renowned mezzo-soprano Anne Sofie von Otter, who is able to express jealousy and manipulation expertly with a soaring, flexible voice that is pure pleasure to hear. Her climactic scene of madness showcased in the aria, "Where shall I fly?", perfectly reflects von Otter's total commitment to the role. As their son Hyllus, tenor Richard Croft has an impressively agile voice, and amid his character's callow feelings toward his father's young captive, Iole, he easily handles all of the virtuoso runs in his many arias with great dexterity. Soprano Lynne Dawson plays Iole in alternate strokes of fire and purity, as she embodies the object of Dejanira's jealousy. Her high point has to be in Act II with her aria, "Resign thy club and lion's spoils". And last but certainly not least, in the supporting role of Lichas the Herald, countertenor David Daniels is in his usual magnificent vocal form. Even though his role is the least dramatic, his charisma and vocal dexterity are on full display whenever he appears. His opening aria, "No longer, Fate, relentless frown", truly sets the platinum standard at which the other singers perform. Recorded live in the Theatre de Poissy, music director Marc Minkowski leads the orchestra, Les Musiciens du Louvre, with the appropriate levels of drama and subtlety, accurately capturing the individual tempo of each scene. Compared to other oratorios by Handel, this is a relatively mellow piece in spite of its mythic nature. Even though it doesn't have the depth of passion and consequence of "Theodora", it is still very much a masterful work of singular beauty, stunningly performed. An impeccably recorded must-have for any Baroque music aficionado.