This is not really an oratorio by Handel. Rather, it is a pastiche–arias “borrowed” from Handel’s operas, oratorios, anthems, and cantatas–put together (and including recitatives composed by) John Christopher Smith (1712-95), the son of Handel’s assistant. So of course, if you love Handel this is like a walk down Memory Lane. Happily, Naxos supplies a listing, number by number, identifying (when possible) the original works from which the music was borrowed–a wise, scholarly, helpful, professional thing to do. There are bits of Ariodante, Alcina (“Verdi prati”, always lovely to hear), Hercules, Belshazzar, Lotario, Radamisto, Ezio, and other works, all set to a “new” libretto by Thomas Morell, who also provided Handel with Judas Maccabeus, Theodora, Jeptha, and a few others.
The plot concerns the nasty, greedy, rich Nabal, who refuses David (the future king) provisions when his men come for them, which leads David to prepare to attack Nabal. Nabal’s lovely, wise wife Abigail secretly sends the provisions, thus heading David’s posse off at the pass. When Nabal discovers this, his heart is filled with shame and dread. He dies 10 days later and Abigail becomes one of David’s wives.
The performance is good enough, but as you might guess, the work has no musical cohesion and it is not very engrossing dramatically. The characters aren’t particularly well-drawn (how could they be when not one aria was composed specifically for their situations?), but each piece–aria, chorus, a duet from Giulio Cesare–is nice to hear. Soprano Maya Boog’s Abigail is sincere and lovely, but the bottom third of her voice is undeveloped and uncertain. Bass Stephen MacLeod attempts to make Nabal’s character come to life, and he ably handles the music; but his is not a quality sound.
The same can be said for tenor Knut Schoch’s David: the artistry and honesty are there, but the voice is dry. Linda Perillo’s soprano Shepherd–a quite large role–is good, as are the busy chorus and responsive instrumentalists under Joachim Carlos Martini’s leadership. This is a live performance, but the sound is better than respectable, albeit with the solo voices too closely miked (therefore, you can hear every imperfection). The whole effect is a bit bland, but Handelians will be curious–and should be.
