Any new recording of Handel under the baton of Rene Jacobs has to be greeted with both respect and interest, even if the absolute need for another recording of this well-represented oratorio is debatable. Perhaps some Handel scholars would argue with that and are still discussing the precedence of the current available recordings — the older Gardiner, the Neumann, or the more recent McCreesh for instance. So, one presumes, this recording of “Saul” on the Harmonia Mundi label must be intended to either trump those three or to at least offer a viable fourth choice for those who prefer their Handel oratorios as complete as possible. And a plus point is that the entire work is squeezed onto just 2 CDs with a total running time of 2 hrs 30 minutes, accompanied by some stimulating liner notes by Pierre Degott that are both informative and absorbing for the non-specialist consumer.
Year: 2005
Rossini’s Adelaide di Borgogna at Edinburgh
http://www.guardian.co.uk/arts/reviews/story/0,11712,1553696,00.html
Caballé Backs Out of Pelagio Production
http://www.elcomerciodigital.com/pg050821/prensa/noticias/Sociedad/200508/21/GIJ-SOC-120.html
Sir John and Me
http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2005/08/20/bmweek20.xml&sSheet=/arts/2005/08/20/ixartleft.html
Honoring Franz Schreker
http://www.nysun.com/article/18876
The Guardian Profiles Sir Charles Mackerras
http://www.guardian.co.uk/arts/features/story/0,11710,1552655,00.html
Renovating The Bolshoi
http://www.thestandard.com.hk/stdn/std/Weekend/GH20Jp05.html
Discovering Rossini in Pesaro
http://news.ft.com/cms/s/7b50f154-104d-11da-bd5c-00000e2511c8.html
La Clemenza di Tito at Edinburgh
http://www.guardian.co.uk/arts/reviews/story/0,11712,1551110,00.html
Britten’s Curlew River in Edinburgh
Benjamin Britten’s opera Curlew River was inspired by the Noh plays he saw on his 1956 visit to Japan, after which he asked his regular librettist, William Plomer, to adapt Sumidagawa for him. Eight years later, the opera was composed. Since it lasts only an hour and requires a highly stylised kind of performance, it has never been a favourite with regular opera houses, but it makes for excellent festival fare. The Edinburgh Festival has mounted its own production, directed by Olivier Py, which is well worth catching.