Handel’s ‘Solomon’, LA Opera’s Mid-Season Surprise Hit
/By Truman C. Wang
3/11/2023
the english consort performing handel’s alcina in 2021.. photo credit: la opera
Like the Magic Flute, Handel’s Solomon celebrates the virtues and wisdom of a Benevolent Ruler, and also the joys of wedded love. The three acts of the oratorio make up a glowing triptych of a Golden Age (of Georgian England perhaps, 1714-1727). It is a vision of what a world well governed might be, and is warm with Handel’s fecund creativity and delightful airs and choruses, exceptionally performed last night, March 10, by the English Consort at the Dorothy Chandler Pavilion. This marked the second of the planned annual visits by the period instrument ensemble from the UK. (The first was Alcina in 2021.)
Act I pictures the dedication of Solomon’s new Temple. Solomon promises his Queen his next building will be a splendid palace for her and they sing a radiant love duet together. In Act II we see the wise ruler of this Utopian state in operation with the famous story of the two harlots. In Act III, the Queen of Sheba pays a state visit to Jerusalem. She is thrilled by the splendid reception and thanks Solomon, “Thy harmony’s divine, great king!”
The English Consort, conducted by Harry Bicket, joining forces with the Clarion Choir and an international lineup of soloists, performed the oratorio complete. At nearly three hours, the oratorio seemed not at all long. I was glad to hear the first harlot’s gentle lullaby “Beneath the vine”, with lovely flute obbligato, restored to its rightful place before the final Act II chorus. Mr. Bicket reversed the positions of the last two choruses, “Praise the Lord” and “The name of the wicked” to make a grand signing off of this dramatic oratorio. The Clarion Chorus, thirty-two strong, was in fine form – precise, clear and deft – notably in the Nightingale Chorus, “May no rash intruder,” which is perhaps the loveliest chorus ever composed by Handel or anyone. The band of thirty-four period instrumentalists was alert in their articulation and virtuosic in their execution. The valveless horns and transverse flute solos were standouts. Mr. Bicket directed from the harpsichord, sometimes with a nod and a wave, sometimes standing up to cue the choral entries. His tempi were often brisk – convincingly so. His feeling for the whole work and its marvelous details was evident.
I was also glad to see the title role sung by a mezzo-soprano, and not a countertenor. (Handel wrote it for a mezzo.) Ann Hallenberg was a firm and noble-sounding Solomon, with a good sense of rhythm and stylish articulation. Soprano Miah Persson showed a considerable emotional range in the double role of the Queen and First Harlot (Handel’s original prima donna, Giulia Frasi, did the triple role of two queens and the first harlot, an even wider emotional range.) A pity Ms. Persson did not get to do the triple role, because her singing was so exquisitely beautiful and distinguished that one wanted to hear as much of her as possible. Soprano Niamh O’Sullavan, the Second Harlot, was spiky, but that could be deemed in character and not inappropriate. Tenor James Way (Zadok the Priest) and bass-baritone Brandon Cedel (a Levite) sang eloquently with a fine command of dramatic recitative. Soprano Elena Villalón, the Queen of Sheba, looked positively regal and radiant in her gold dress, and sang glowingly.
This superb Solomon was truly a highlight of the LA Opera’s 2022/2023 season. Look forward to the English Consort’s return next season. Handel’s great oratorios and operas deserve to be better known outside of a small group of connoisseurs.
Truman C. Wang is Editor-in-Chief of Classical Voice, whose articles have appeared in the Pasadena Star-News, San Gabriel Valley Tribune, other Southern California publications, as well as the Hawaiian Chinese Daily. He studied Integrative Biology and Music at U.C. Berkeley.