Composer: George Frideric Handel
Works: Great Handel Arias, including selections from Ottone, Partenope, Alexander Balus, Rodelinda, Rinaldo, and others.
Performers: Bernadette Greevy, contralto; Forbes Robinson, bass; Academy of St Martin-in-the-Fields; Raymond Leppard (for Greevy); Philip Ledger (for Robinson)
Recording: 1966-67
Label: DECCA ELOQUENCE 461 593-2 [77’34]
George Frideric Handel, a towering figure in the Baroque canon, has long been celebrated for his dramatic arias that encapsulate the human experience in all its tumultuous glory. This reissue of “Great Handel Arias,” featuring the esteemed voices of Bernadette Greevy and Forbes Robinson, presents a compelling journey through Handel’s dramatic oeuvre, showcasing both less familiar works alongside canonical favorites. As a collection, it provides a vivid snapshot of Handel’s rich emotional palette, rendered through the expressive capabilities of two adept singers and the skillful accompaniment of the Academy of St Martin-in-the-Fields.
Bernadette Greevy’s contributions are particularly noteworthy, as her contralto voice is characterized by a blend of warmth and eloquence that suits Handel’s music exquisitely. In “Vieni, o figlio” from Ottone, Greevy’s lower register is plangent, imbuing the aria with a passionate nobility that resonates deeply. The support of the strings under Raymond Leppard’s direction enhances this effect, creating a soundscape where Greevy’s voice shines through with clarity and depth. The selection of “Convey me to some peaceful shore” from Alexander Balus stands out for its lyrical beauty and emotional weight; Greevy’s technical command and textual sensitivity elevate this lesser-known piece, making a strong case for its inclusion in the standard repertoire.
Leppard’s role as both harpsichordist and conductor is pivotal in shaping the overall sound. His accompaniment in “Cangio d’aspetto” is marked by precise articulation and a lively tempo that complements Greevy’s deft runs. The interplay between singer and orchestra is particularly effective in “Dove sei” from Rodelinda, where the cello line emerges with poignant clarity, allowing Greevy’s expressive portamentos to interact beautifully with the instrumental texture. Here, the engineering captures a warm, resonant sound, allowing the dialogue between voice and instruments to unfold in an intimate manner.
Forbes Robinson brings a robust presence to the second half of the disc, performing a selection of bass arias that provide a counterbalance to Greevy’s lighter timbre. His rendition of “Revenge, Timotheus cries” may evoke a sense of antiquated style, yet there is an undeniable vigor in his portrayal of the dramatic text. While his tone may occasionally lack focus, his ability to convey emotion through his delivery—particularly in the ferocity of his sibilants—demonstrates a deep understanding of Handel’s dramatic intentions. In “Leave me, loathsome Light” from Semele, Robinson’s more introspective approach reveals a contemplative side to his character interpretation, supported by Ledger’s sensitive orchestration that underlines the aria’s philosophical depth.
While both singers offer commendable performances, the recording quality, though clear, reflects the era in which it was made, with a slightly diminished dynamic range compared to modern standards. Nonetheless, the warmth of the sound retains a certain charm, inviting listeners into the world of Handel’s dramatic narratives. The absence of full texts in the liner notes is a missed opportunity for deeper engagement, though the provided summaries do offer some contextual grounding for each aria.
This collection stands as a testament to the enduring power of Handel’s music and the interpretative skills of Greevy and Robinson, encapsulated in performances that still resonate decades after their original recording. Each aria serves not only as a showcase for the singers but also as a vivid illustration of Handel’s mastery in marrying text and music. The disc is a valuable addition to any classical music library, offering both historical insight and musical pleasure, as it continues to illuminate the rich tapestry of Handel’s work.
