Handel called Semele, HWV 58, a musical drama after the manner of an oratorio, and that mixture of modes, plus the work's failure at its first performance (it was considered too risqué for the stolid middle-class English crowd with its secular text on the topic of adultery), consigned it to obscurity until the late 20th century. Even then, Semele remained a bit underrated. The "manner of an oratorio" description indicates the presence of numerous choruses, integral to the action, and not all choirs have made these come ...
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Handel called Semele, HWV 58, a musical drama after the manner of an oratorio, and that mixture of modes, plus the work's failure at its first performance (it was considered too risqué for the stolid middle-class English crowd with its secular text on the topic of adultery), consigned it to obscurity until the late 20th century. Even then, Semele remained a bit underrated. The "manner of an oratorio" description indicates the presence of numerous choruses, integral to the action, and not all choirs have made these come alive, and the comic nature of much of the material has been a challenge for Handelian singers. These problems are solved in this live recording from the Alexandra Palace Theatre in London. The choruses are given their proper catchy, chunky shapes, reminiscent of the nearly contemporary Messiah, HWV 56, and the singers are top-notch. Louise Alder delivers fetching tunes (try "O sleep, why dost thou leave me?" from Act Two), and she makes a nice contrast with the delightful comic squawks...
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