Semele was first presented in London in 1744; it was billed as an oratorio for murky reasons, but indeed it is operatic. I believe that this is the third recording of the work: John Eliot Gardiner’s (on Erato) is severely cut, and although much of the singing is good, it can’t compare with John Nelson’s complete, gorgeous performance (on DG) played on modern instruments. This latter is a lithe, brilliant show with Kathleen Battle in her greatest recording as the vain, self-destructive Semele and Marilyn Horne and Samuel Ramey close to magnificent, with tenor John Aler an elegant if slightly underpowered Jupiter. It’s a wonderful work, and Nelson gives us all the theatrics as well as some glorious playing and singing.
Now we get this recording from a newish Australian group, taped live in Sydney in December, 2002. There are some cuts, among them three arias, two of which are for Athamus, turning that role into what amounts to a cameo. The other is Semele’s “The morning lark”, which frankly wouldn’t have suited the present Semele. There also are a bunch of da capos missing, but Gardiner’s cuts are more extensive. Anthony Walker leads a very dramatic performance, and there’s a great deal of audience laughter, which implies that many arias, though sung straight, were somehow camped up. (We also get some creaking of music stands, but it’s not serious.)
The Sirius Ensemble plays on period instruments and it’s world-class; the prominently-recorded continuo playing is original and always appropriate. The chorus, called Cantillation, is stylish, accurate, interested, and energetic. Walker clearly loves appoggiaturas; both singers and players grasp every opportunity to put one in. And the second “A” sections of the da capos are madly embellished, sometimes to the detriment and defeat of the singers.
The solo singing is never less than interesting, often more. As Semele, Anna Ryberg is articulate and entertaining, and she gives us a complete character. In truth, though, hers is not really a Semele voice; the vibrato is too prominent and she’s too mature-sounding. She’s got some proficiency with coloratura, but not as much as the part requires. She’s more fascinating than anything else and certainly can’t compare vocally with Battle. Angus Wood also makes a lot of Jupiter dramatically, but his tenor is a nowhere sort of sound–useful but not god-like. Sally-Ann Russell sings both Ino and Juno and she’s the show’s star. As the vicious Juno, her delivery of the recitatives is brilliantly vivid, and while she occasionally sounds like Katisha (in Mikado) with her prominent chest voice, her every appearance is a treat. (Both Della Jones for Gardiner and Horne for Nelson are just as good.) As Ino, she uses a softer tone and lovely legato; her “But hark…” near the end of Act 2 is splendid. Iris is well sung by Belinda Montgomery, with appealing, round tones. Shelli Gilhome grabs her moment as A Deity, and what’s left of Athamus’ part is well performed by Tobias Cole. Stephen Bennett, as Cadmus and Somnus, impresses with his dark tone.
I feel as if I’ve been overly critical of this performance; in many ways it’s terrific and I’d certainly take it over Gardiner’s. But with the Nelson still available (a miracle), all others are second place anyway. And I hope we’ll soon hear more of conductor Walker–and his orchestra and chorus.
