Esther - Dunedin Consort - McAlister Matheson Music
01 May 2012
McAlister Matheson MusicAnne McAlister
Handel's first English oratorio, Esther, was composed
during the short period when Handel worked for the Duke of Chandos at
Cannons. Its origins are obscure, and while it has become clear that the
work went through two versions between 1718 and 1720, much evidence
(including Handel's performance score) is missing. New research
published in 2010 inspired John Butt to reassess the relationship
between the first two versions, examining all the relevant sources
in detail. His resulting ‘Esther: first reconstructable version
(Cannons), 1720' is a highly appropriate sequel to Acis & Galatea,
which the Dunedin Consort presented in 2008 in its 1718 Cannons version.
The main characters are Assuerus the Persian king, his evil henchman
Haman, Mordecai (the leader of the Jews in Persia) and his orphaned
cousin Esther, who has recently been chosen as queen. The plot is
straightforward. Haman has ordered that all the Jews be massacred;
Mordecai tells Esther, who then pleads with Assuerus to save the Jews;
she succeeds, and Haman is condemned to death while the Jews celebrate
their freedom. It has been obvious from previous Dunedin Consort
recordings that John Butt thrives on translating scholarly research into
vibrant performances of the highest quality, and this recording is no
different. The opening Overture is a joy in itself, the ensemble
beautifully balanced, the music cleanly articulated, unhurried yet with a
sense of forward propulsion, with the oboe-playing particularly
deserving of mention. The music for the first three tableaux closely
resembles that found in Acis, with Matthew Brook in commanding form as
Haman, Susan Hamilton a fresh-voiced Esther, and a delightfully
boyish-sounding aria from Electra Lochhead, a recent head chorister at
St Mary's Episcopal Cathedral in Edinburgh. The drama gathers pace in
the second act, with the majority of the movements having their origins
in Handel's Brockes Passion. Tenor James Gilchrist is superb as
Assuerus, his aria O beauteous Queen especially touching. That aria
marks the addition of two bassoons to the ensemble, and in the final act
a pair of horns is added in the opening scene and a trumpet in the
final chorus. This last is a triumphant, complex movement of unflagging
rejoicing incorporating solos and duets, among them a splendid decorated
fanfare-like section for two basses. The music is frequently
reminiscent of Messiah and the Coronation Anthems; add to that the
exceptionally vivid contributions from singers and orchestra, and it
looks like the Dunedin Consort have another success to add to their
impressive record!
Related Links
Dunedin Consort
James Gilchrist
Handel: Esther, First reconstructable version (Cannons), 1720