Hercules, one of Handel’s later works (1744), is not entirely easy to categorise. It falls under the rubric of “English oratorio”, being in English and structured with interleaving recitatives, arias and choruses, but is based on Greek mythology rather than a Biblical story. It thus makes a good pairing with Semele, which will be staged, unlike Hercules, and both fit with the Göttingen Handel Festival theme of “Hellas” (Greece). Top god Jupiter plays a role in both works, but is only manifested as an actual character in Semele. The main concern of Hercules is jealousy, that of Hercules’ wife Dejanira of the captive Princess Iole who, in this version, ends up with Hercules’ son Hyllas. One of the most obvious touch-points would be Shakespeare’s Othello.
This work is not as frequently performed as some of Handel’s other later English works, especially not Semele, but has a nice array of musical forms both choruses and arias, and some good dramatic turns for Dejanira in particular. The performance featured the FestspielOrchester Göttingen under festival artistic director George Petrou, with the NDR Vokalensemble and a choice selection of soloists. There were a couple of cuts; Iole and Lychas – whose main role is narrative – both lost an aria.
The attractive overture was played in particularly lively fashion; indeed, tempi throughout were considerably brisk, perhaps a bit too fast at times. The successive arias, Hercules’ “Alcide’s name” and Dejanira’s “Resign thy club”, whizzed by so quickly one felt there was a certain loss of nuance, not that the respective singers didn’t get all the notes out. Some of the slower items, on the other hand, were notable for their transparency in highlighting individual instruments, and for a sumptuous quality in the ripieno sections.
The NDR Vokalensemble, under choirmaster Klaas-Jan de Groot, has reached a pinnacle of polished discipline these days, with impressive English diction. The soprano section reached quite sublime heights at times. Some of the choruses, when accompanied by trumpets and timpani, such as “Crown with festal pomp the day” were particularly exciting.
Andreas Wolf could hardly be bettered in the title role and is surely one of the best bass singers to be found these days. His voice is powerful, accurate and resonant with beautiful bronze tone and excellent diction. His accompagnato (“Oh Jove! What land is this”) was dramatically impressive, and his dying request to Hyllas deeply moving. Vivica Genaux is one of the better known exponents of Baroque music, with a very distinctive vocal style and instantly recognisable voice. On this occasion, she seemed a little slow in working her way into the character, but had it well in hand by the time we got to the celebrated Mad Scene, “Where shall I fly?”, which was wrenchingly delivered, garnering a round of applause, unusual in an oratorio at Göttingen.
Anna Dennis never disappoints, and was perfectly cast as Iole, singing with pin-point accuracy, pure tone and effortless agility, with sparkling cadenzas where appropriate, and an intelligent reading of the text. She was well-partnered by tenor Nick Pritchard who has a pleasing plangent tone but his character doesn’t have that much to do – “From celestial seats descending” must one of Handel’s mildest arias. Contralto Lena Sutor-Wernich was quite the revelation, with a smooth velvety voice. She descended effortlessly to below the staff in “No longer fate”; surely Mrs Cibber never sounded like this in 1745?
