There have been a nice handful of recordings of this fascinating oratorio over the years, and if L’Allegro doesn’t have the allure of Messiah or the drama of Saul, it certainly does not want for fine melodies and exciting moments. Handel’s settings of John Milton’s text regarding the “Happy Man” and the “Pensive Man” (plus less-successful added words from the “Moderate Man” by another poet) allow for great mood swings in musical treatment, and Handel-lovers find it irresistible. John Nelson uses modern instruments but they play with sharp attack and bright tone–if this performance isn’t quite “authentic”, it is certainly “informed” (even more so than his 1993 Semele which, though not conforming to current scholarship, was a real pleasure).
The strongest suits here are the singing of countertenor (here referred to as “alto”) David Daniels (Nelson assigns some arias to that voice range even if Handel does not and the results are felicitous) and tenor Ian Bostridge. I doubt whether we’ll hear more gorgeous, expressive, intelligible singing this year. Bostridge in particular paints his words brilliantly and enunciates the text in a stunning, natural manner that “sells” every aria and recitative. If Daniels is less dramatic, then his sound must be appreciated as even more beautiful. Bass Alastair Miles, too, proves himself here, singing the fast, acrobatic music as well as the more introspective with ease and grace.
The women disappoint a bit: Each has a lovely voice, but they lack energy. Christine Brandes’ singing of the epic “Sweet bird” (ever hear Schwarzkopf sing it?) is a bit dull, and Lynne Dawson is not at her freshest. Nevertheless, the set works, and if you don’t own the Robert King-led version on Hyperion, this set, and especially the male singers, are well worth the investment.
