The young Handel probably could not believe his luck. Still in his early twenties, he had found a patron who was willing to pay for a lavish premiere of his latest work, the oratorio La resurrezione, first heard in Rome at Easter 1708.
Contemporary reports tell of a temporary theatre being erected in the hall of Palazzo Bonelli, with large canvases depicting scenes of Christ’s resurrection and decorations of taffeta and velvet trimmed with gold, all lit by 16 candelabra. There was even a waterfall, where the audience could partake of liqueurs and coffee during the interval.
The music is similarly no-expense-spared. Using one of the largest orchestras he ever had at his disposal, Handel devised a nonstop display of novel combinations. Each aria has an unusual accompaniment and one of the pleasures of this new recording is the subtlety of those instrumental effects, as played by the English Concert.
There have been a number of fine recordings of La resurrezione since the advent of period instruments, but this one has a character of its own. Harry Bicket conducts a more inward and gently expressive performance than most of his rivals, making much of the slower, intimate arias.
His solo singers (there is no chorus) are the equal of any. The two sopranos Sophie Bevan and Lucy Crowe, though not so different in sound, offer beautiful singing, and young tenor Hugo Hymas is exceptionally mellifluous. With countertenor Iestyn Davies and bass Ashley Riches both strong in profile, there is no weak link.
★★★★☆
‘Handel: La resurrezione’ is released by Linn
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