The theme of this year’s Händel Festspiele Halle is “Oh là là Händel? Französische Inspirationen” (French inspirations), so an oratorio inspired by the French playwright Racine was an obvious choice. Athalia was Handel’s third English language oratorio, composed in 1733. It is a study in contrasts, with the virtuous Israelites in the persons of Josabeth (soprano), Joad (alto) and their (secret) son Joas (soprano) juxtaposed with the venomous pagan queen Athalia (soprano), reflected in the latter’s furious arias compared with the gentler pastoral offerings of the former group. Added to the mix are the apostate priest Mathan (tenor) and the noble Jewish captain Abner (bass), and of course a chorus, representing variously a group of Young Virgins, Israelites, Priests and Levites, Attendants and Sidonian Priests.
The nub of the action is Athalia’s desire to get rid of the Israelites, and particularly to stamp out the noble line of David represented by the boy Joas. It will come as no surprise that the Israelites triumph and Athalia is thoroughly routed. This performance featured an excellent group of soloists with the MDR-Rundfunkchor and the Leipziger Barockorchester under Philipp Ahmann.
While the musical values were generally unimpeachable, the presentation suffered somewhat in contrast with the preceding evening’s performance of Esther by English ensemble Solomon’s Knot where a small group as soloists and chorus, singing off book, wove their way around the Dom (Halle) performance space, interacting and acting out the narrative in an involving and dynamic fashion. Athalia on the other received an absolutely straight-back-and-sides conventional oratorio presentation. The 40-strong chorus occupied the back of the Ulrichskirche’s performance area in tiered ranks, the orchestra in front of them, with the soloists sitting on the sides of the stage, getting up and walking to the centre for their items, clutching their scores. This is not to say that the participants did not deliver a dramatic performance.
The period instrument orchestra played in lively fashion and carried the narrative forward in the service of the singers. The continuo group provided sterling support and there was particularly excellent work from the recorders and oboes. The choir sang with true discipline but sounded rather muffled at times, but the acoustics of this venue always leave something to be desired. The triumphant choruses, with trumpets and timpani, were suitably rousing.
The casting of Marie Lys, best known as an opera singer, in the title role, follows the tradition of the 1986 Hogwood recording which pitched Joan Sutherland (Athalia) against Emma Kirkby (Josabeth) (and also featured Aled Jones in his glorious teen prime as Joas). The title role certainly offers the opportunity for some vocal scenery chewing, which Lys grabbed for some wild notes in “My vengeance awaits me”, quite appropriately, and turned in a truly malevolent characterisation. In the other camp, Josabeth was sung by Anna Dennis, who never disappoints, with soaring soprano high notes and effortless cadenzas. Countertenor Alex Potter was Joad, singing with good unforced tone, and Benjamin Hulett produced a clear ringing tenor as Mathan. Edward Grint took the bass role of Abner, with resonant bronze tone, if rather challenged by the lowest notes. An unnamed soprano from the choir sang the boy Joas with crystal clarity.
