The 1707 Il trionfo del Tempo e del Disinganno (‘The Triumph of Time and Enlightenment’) is the product of Handel’s early Italian sojourn in Rome. Though he had completed two operas, Rodrigo and Agrippina, which had fallen under the papal ban on operas in general, he was able to obtain performances in Florence and Venice. But Rome being Rome, he was not about to abandon hope of a successful conquest in the city and turned instead to the production of cantatas and oratorios. A devoted patron from the Church, Cardinal Benedetto Pamphili, enjoyed a small reputation as a poet and even provided Handel with some texts for his productions, the most important of these being the work under consideration. This, Handel’s first oratorio, eschews a chorus altogether and uses just the four soloists, a soprano, a mezzo, an alto, and a tenor, though one may argue on technical terms that the form of the quartetto constitutes de facto a chorus, though the writing doesn’t sound like a typical Handelian chorus.
The plot, such as it is, is rather moralistic and philosophical. Beauty (Bellezza) is under great temptation from Pleasure (Piacere) to continue a life of unencumbered distraction, but is derided by Time (Tempo) and Enlightenment (Disinganno) that continuing in this manner will only lead to death. Beauty must find Eternity who dwells in heaven to avoid the ravages of Time and must reject Pleasure in order to achieve this. This is a rather simple story with a clear moral, despite some of the possible philosophical constructs that may prove false and confusing for those paying careful attention to the libretto.
But my guess is that most of us will be paying more attention to the absolutely delightful and sparkling music that adorns this entire score. Handel used it as a wellspring for a large number of subsequent pieces, and stole freely from it as he did from several other composers when first writing it. Nevertheless, the work is inundated with remarkable arias and melodically pleasing recitatives, a first rate entertainment that will have to be in every Handel lover’s library.
There have only been two or three recordings of this work in the recent past. Marc Minkowski gave us a creditable effort in1992 (N/A, Erato), and Renaldo Alessandrini’s gregarious 2001 issue on Opus 111 is everything one could ask for, but unfortunately (and inconsiderately) withdrawn. But no matter—this new recording by Emmanuelle Haïm and forces, with some smoky, superb singing by the ever-amazing Natalie Dessay (and beautiful tenor of Pavol Breslik) eclipses even the excellent Alessandrini. Haïm seems to be on a role these days with her rejuvenated, common sense performances that sport an extra degree of musicality that has so often been missing from period practice the last 20 years. Le Concert D’Astrée is as good as it gets, and the excellent oboe solos by Patrick Beaugiraud and wonderful (and very difficult) violin work of Stéphanie-Marie Degand (duly given a photo credit in the booklet) only adds to the desirability of this release, replete with texts and translations.
As an aside, Handel revised this work in 1737, the edition that led to the 1757 Covent Garden performance of the English revision, Triumph of Time and Truth. There are several recommendable recordings of this, his last oratorio born from his very first, most gratifyingly the recent Hyperion re-release (at midprice) starring the wonderful Emma Kirkby. But if you are having just one, I much prefer this recording of the composer’s first thoughts, full of life and fireworks.
— Steven Ritter
