Joshua, Hulcup, Davies, Christie, Les Arts Florissants - Handel: Belshazzar (2013)

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Joshua, Hulcup, Davies, Christie, Les Arts Florissants - Handel: Belshazzar (2013)

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A brand-new label from one of the world's finest early music ensembles makes an auspicious debut with this stunning new recording of Handel's oratorio Belshazzar. Les Arts Florissants, led by the great William Christie, have launched their new label with the goal of expanding the ensemble's connection to the listening public on a scale far beyond the concert hall. Belshazzar was first performed in 1745, and was frequently revised. Christie has chosen what he considers to be the most successful of the various versions of Belshazzar, resulting in the restoration of the piece in all its splendor. The libretto's subject, which focuses on the decline of a once glorious society and the ephemeral nature of Empire, is especially relevant today. This deluxe set also includes a bonus essay by Jean Echenoz entitled In Babylon, printed separately on special paper and included alongside the regular booklet. This specially commissioned work draws the reader deep into the ancient, majestic city, the seat of power of Belshazzar the King.

“Belshazzar was first performed in 1745, under difficult conditions. Ever the pragmatist, Handel did not hesitate to revise his work to adapt to the various constraints of the premiere and its subsequent revivals. Surprisingly unscrupulous, he frequently accepted the most dreadful compromises involving mutilating cuts, transpositions, sacrificing his inspiration in order to facilitate a performance. For this recording we have chosen what we consider to be the most successful of the various versions of Belshazzar given in his lifetime, resulting in the restoration of the piece in all its splendour, with the best of the music and a coherent libretto. I am particularly pleased that the first production for our new label does justice to a libretto whose subject is so relevant today: the decline of a once glorious society and the ephemeral nature of Empire. In Belshazzar everything hits the spot: the emotional power, the vivid imagery, the contemporary resonance. How could one not be struck by the majestic architecture of the choruses; by the characterisation of Belshazzar himself, irascible, alcoholic, affronting the divine word? Andwho could not be deeply moved by Nicrotis’grief at witnessing the downfall of her son, or by the extraordinary complicity that develops between herself and Cyrus, the conquering King of the persians? From beginning to end the piece is carried along by Jennen’s humanity and the universality of Handel’s music. I have opted for a very fine and entirely Anglophone cast. All of us had our hearts set on restoring the dramatic force and emotional power to this magnificent music. Other considerations influenced our choice — the very scale of Belshazzar made it possible to draw on a large number of musicians and singers who have been part of Les Arts Florissants for many ears, ensuring the recording bears the unmistakeable stamp of the company” William Christie

Composer: George Frideric Handel
Performer: Iestyn Davies, Caitlin Hulcup, Allan Clayton, Rosemary Joshua, …
Conductor: William Christie
Orchestra/Ensemble: Les Arts Florissants

Reviews: This is a spectacular recording of one of Handel’s great oratorios, both from the point of view of the performance and the overall production. Since its foundation in 1979 Les Arts Florissants has performed music from the Baroque era in an historically informed manner, but without the fussiness and/or dryness found in so many other HIP performances. Compare this recording to Nikolaus Harnoncourt’s on Warner Classics (coupled with Jephtha , and very well sung in both cases). There is a natural ebb and flow to William Christie’s conducting, a responsiveness to all aspects of the text without ever turning mannered, that seems a strong contrast to Harnoncourt’s more manipulative and less generously phrased conducting. Christie provides sufficient rhythmic tautness but his emphasis is clearly more on the lyrical beauty of the music. Attacks are less fierce here; the tension never sags, but neither does it dominate. This is, in fact, a performance of great beauty and great energy, two qualities in perfect balance.


There are different editions of Belshazzar , as Handel made or accepted revisions as necessary in order to guarantee performances. Christie and his associates have, to quote him, “chosen what we consider to be the most successful of the various versions of Belshazzar given in his lifetime, resulting in the restoration of the piece in all its splendor, with the best of the music and a coherent libretto.” I have not made a direct comparison with other recorded versions as to editorial choices, but the result here is certainly coherent and convincing as a whole. An excellent essay in the accompanying booklet goes into greater detail about the different versions.


The accompanying material, both the main booklet with excellent notes and a complete libretto, and the second smaller booklet containing an essay about Belshazzar’s kingdom of Babylon by Jean Echenoz, is exemplary in its presentation of Belshazzar . This is the first recording on Les Arts Florissants’s own label, and they have set themselves a high bar for future releases.


In the end, of course, one does not buy a recording for its booklets, but for its musical values. Belshazzar has been lucky on disc, with good recordings led by Pinnock and Harnoncourt in the past. The singing is good on all three, but because of Christie’s leadership this would be my first choice. The conducting matters a lot in a work of this length; Pinnock is clean, crisp, but somewhat bland, whereas Harnoncourt is overly intense and driven. Christie manages to find the suppleness and the energy in the score and give them equal attention. Even the recitatives have shape and momentum, something not always the case in other performances.


Rosemary Joshua’s Nitocris is spectacular. Her bright soprano has both intense focus and a warm glow to the sound, and she is at ease with all of Handel’s coloratura demands. Allan Clayton’s tenor is equally accomplished; though his voice itself is a touch on the dry side, he sings with ease and style and he conveys the bluster and debauchery of Belshazzar quite convincingly. The scene featuring his final aria, before he foolishly and drunkenly goes off to battle where he is killed, followed by a brilliant Battle Symphony, is extraordinarily dramatic and effective here. The other singers perform at a very high level throughout—consistency of quality and of style is a hallmark of this recording.


The recorded sound is warm and well balanced, with the perspective of a seat perhaps upstairs in a concert hall or opera house rather than close-up. In all ways, then, this is enthusiastically recommended.