Composer: Alessandro SCARLATTI (1660-1725)
Work: Sedecia, re di Gerusalemme – Oratorio in two parts (Rome, 1706)
Performers: Gérard Lesne (Sedecia), Virginie Pochon (Anna), Philippe Jaroussky (Ismaele), Peter Harvey (Nabucco), Mark Padmore (Nadabbe)
Ensemble: Il Seminario Musicale, Gérard Lesne (direction)
Recording: November 1999, École Sainte-Geneviève, Versailles, France
Label: Virgin Classics 7243 5 45452 2 1
Duration: CD1 46:54; CD2 47:22
Release Date: November 2001
Availability: Crotchet, Amazon UK, Amazon US
Alessandro Scarlatti’s Sedecia, re di Gerusalemme, a poignant oratorio composed in 1706, emerges as a compelling exploration of the tragic fate of King Zedekiah, or Sedecia, and his fateful encounter with the Babylonian conqueror Nebuchadnezzar. This recording, the first of its kind, captures a work that remains relatively obscure yet rich in musical and historical significance.
The opening Sinfonia sets an energetic tone, immediately establishing the work’s dramatic underpinning. Scarlatti’s orchestration, characterized by its Baroque textures, is executed with clarity despite the small ensemble of only 17 musicians. The recording, however, is marred by excessive reverberation; while this may impart a certain ambiance, it occasionally obscures the distinct voices of the performers and the nuanced interplay between instruments.
The pacing of the arias is notably brisk, with the first three maintaining an exhilarating momentum. It is within this context that Philippe Jaroussky’s portrayal of Ismaele shines, particularly in the aria “Se il generoso cor.” Here, Jaroussky’s ethereal soprano voice demonstrates an uncanny fluidity, gliding effortlessly over the orchestral fabric. His vocal line embodies the lyrical elegance that characterizes Scarlatti’s writing. However, one must note that Virginie Pochon, in her role as Anna, presents a voice so similar to Jaroussky’s that it can lead to confusion in the ensemble’s texture—an unfortunate outcome in a work requiring clear vocal distinction. Pochon’s vibrato, while expressive, occasionally veers toward excess, particularly in her final aria of Part One, which detracts from the overall impact.
The duet “Caro figlio,” featuring Pochon and Jaroussky, is a highlight, showcasing the blend of their voices in a way that transcends the potential confusion. The interplay between the obbligato flute and their melodic lines is particularly effective, illustrating Scarlatti’s deftness in combining voices with instrumental timbres.
Gérard Lesne, in the role of Sedecia, delivers a commendable performance, especially in the aria “Capri, o sol, l’aurato manto.” Here, the poignant dialogue between the two cellos and the voice evokes a profound emotional landscape, highlighting the personal tragedy of the narrative. Peter Harvey’s portrayal of Nabucco offers a contrast, his robust bass resonating powerfully during the aria “Contro te di sdegno armato.” The orchestration here, with its brassy fanfare, complements the martial theme effectively, marking a dramatic high point in the oratorio.
Mark Padmore, as Nadabbe, contributes effectively despite limited solo opportunities. His aria “Vado, e il nome altero,” with its minimalist cello backdrop, is a moment of introspection that balances the surrounding drama, though it does not linger in the memory as strongly as some of the more dynamic arias.
One notable structural concern arises from the repetitive recitative-aria format that dominates the work, which, over the span of roughly 90 minutes, can lead to a sense of monotony. While each aria is beautifully crafted, the cumulative effect lacks the overarching cohesion one might expect from a significant oratorio. The work often feels more akin to a series of solo showcases rather than a unified narrative.
Despite these reservations, the recording is a significant contribution to our understanding of Scarlatti’s oeuvre. The performances are executed with a laudable level of artistry, and while the work itself may not achieve the same level of dramatic unity as Handel’s oratorios, it possesses a charm that is undeniably appealing to those who appreciate the Italian Baroque style.
The engineering quality, while competent, could benefit from a more judicious balance of reverb to enhance clarity in ensemble passages. Nonetheless, this recording of Sedecia stands as a valuable resource for those eager to explore the lesser-known corners of Baroque music. In conclusion, while the oratorio may present challenges in its structure, the beauty of Scarlatti’s music and the sincerity of the performances make this recording a worthwhile listening experience for aficionados of the genre.
