The history of Israel in Egypt has been somewhat problematic. It was only the second of Handel's English oratorios, and the first in which the choral sections overshadow the solos, a concept that perplexed and displeased the original London audiences in 1739, who were used to their evenings in the theater dominated by virtuosic solos. When Handel revived the work in 1756, he trimmed it considerably, entirely omitting the first section. This recording, with Holger Speck leading Vocalensemble Rastatt and the instrumental ...
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The history of Israel in Egypt has been somewhat problematic. It was only the second of Handel's English oratorios, and the first in which the choral sections overshadow the solos, a concept that perplexed and displeased the original London audiences in 1739, who were used to their evenings in the theater dominated by virtuosic solos. When Handel revived the work in 1756, he trimmed it considerably, entirely omitting the first section. This recording, with Holger Speck leading Vocalensemble Rastatt and the instrumental ensemble Les Favorites, uses the original complete score, which gives it a clear edge over the many abbreviated performances available of what was once considered the standard performing version. Speck's reading tends to be on the reserved side. The performance is precise and disciplined, straightforward but energetic when called for, although the fieriest choruses lack the passion to really stir the blood. Even so, there's much to be said for performances that can transcend the churchy...
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