Opera or oratorio? The question has remained unanswered since the disastrous creation of Semele in Covent Garden in 1744. Attacked by both opera critics and devotees, both parties accusing him of turning theatres into temples by playing his oratorios, Handel was no longer popular in the British capital. In doing so, he reconnected with Greek mythology through Ovid and his librettists in a work intended to satisfy both sides.
Semele contains several large passages, including a splendid quartet in the first act, which was extremely rare at the time. But it was a complete failure and the new work was on display only for four short evenings. John Eliot Gardiner first recorded Semele at the beginning of the 80s for Erato Records, to varying degrees of success. He revisited the work in 2019 for a series of concerts given in Paris, Barcelona, Milan (La Scala), Rome and London, where the new version was recorded on 2nd May 2019.
Gardiner sets the record straight in a way with this recording that does full justice to this hybrid work thanks to excellent soloists, starting with soprano Louise Alder in the title role. His great sensitivity, the rich palette of vocal colours and the touching expressiveness are all incredibly admirable. The protagonists surrounding him, mezzo-soprano Lucile Richardot, tenor Hugo Hymas, countertenor Carlo Vistoli, bass Gianluca Buratto and a few soloists from the choir, complete a coherent and flawless cast. As an untiring discoverer of new voices, Sir John Eliot Gardiner gives a beautiful impetus to this work. The Monteverdi Choir and the English Baroque Soloists are as sparkling as ever. © François Hudry/Qobuz