Finally, a worthy competitor to Gardiner on Philips.
HANDEL: Jephtha (complete opera) – David Portillo (Jephtha)/ Clara Osowski (Storge)/ Lauren Snouffer (Iphis)/ Aryeh Nussbaum Cohen (Hamor)/ Neal Davies (Zebul)/ Katelyn Lee (Angel)/ Music of the Baroque Ch. and Orch./ Jane Glover – Reference Recordings Fresh! FR-755 (2 CDs), 66:01, 66:41 *****:
Handel’s Jephtha completed the composer’s oratorical output and has since been given as an oratorio and an opera. Many of Handel’s dramatic oratorios fall into such dual genres contemporaneously, and one wonders if the composer would have preferred the opera route if the London audiences had not grown tired of the form and were less interested in the newfangled oratorio style. The chorus, mimicking the appearance of the ancient Greek chorus of Aeschylus and Euripides, fulfills the role of unified comment, and the book of Judges and Handel himself give them much to comment on.
With Theodora and Jephtha, Handel reached the pinnacle of his powers as a dramatist and theater maven, imbuing his characters with pathos and genuine humanity, while also attempting to alleviate the manifold difficulties found in the biblical story. Jephtha, fresh from a heroic battle, vowed to sacrifice the first person he saw upon returning as an indication of his thanks to the Almighty. What a surprise when he encountered his daughter! Post-enlightenment Britain, where debates about the authenticity of the bible and Christianity were front and center in public and theological circles, inspired librettist Rev. Thomas Morell to tone down the horrors by creating an alternative ending, merging the biblical account with old Greek plays by Euripides. Jephtha, like Abraham, is saved by the angel who appears suddenly and is lauded for his faith in attempting to conduct the sacrifice. His daughter Iphis is glorified instead of sacrificed, and Jephtha is, to put it mildly, let off the hook.
The story works primarily because of Handel’s glorious music and apt characterizations of Morell’s libretto. Everyone who heard this piece at the premiere, or one of the subsequent slightly revised revivals, knew exactly what the biblical story said, but were persuaded by the new ending because of the deliciousness of Handel’s music, as great as any he ever composed.
It is a surprise and pleasure to see this new recording by the ever-irrepressible Jane Glover and her longtime association with the Music of the Baroque Orchestra. Surprised, because I was beginning to think that the days of unadulterated Handelian recording orgies was over (the 80s and 90s saw such a flood of this activity, a different time and the last strangulated throes of the so-called “major labels”), though I suppose I still think that. But it is nice to see that there are still those who are willing to take a risk on these types of productions (I hope it continues.) Pleasure bound, because this happens to be the first recording of this work that really challenges the Gardiner recording from 1988. I can’t say it tops it—both this and that have much in common, certain weaknesses as are to be expected, but sporting an overall beauty and commitment that are readily perceivable by any listener. Harry Christophers and Nikolaus Harnoncourt both attempted competitive efforts, but neither reaches the height of Gardiner or Glover.
I will not engage in tit for tat character comparisons between the two recordings, because I find little of value in it. What we come away with in any recording is the overall impression, whether we are moved or not, and how the thing sounds. The cast here, with perhaps only a few people that most Handel aficionados will recognize, is uniformly excellent, as good as Gardiner’s more star-studded lineup. The orchestra is superb, with rich tone and sharp contrasts, guided by Glover’s deep and long-lived experience in this music. But what thrilled me the most are the sonics, often substandard in concert recordings, here well-nigh perfect in presentation and warmth. Typical fine Reference Recordings production, complete with libretto. If you don’t know Jephtha, you are missing something. This is a good place to start.
—Steven Ritter
