Hercules

Luc Bondy's decidedly Spartan approach to one of Handel's more intriguing and epic oratorios may disappoint some Baroque purists, but there is no stopping the dramatic resonance of the piece. "Hercules" examines the power of jealousy and its fatalistic ramifications using the last hours of the mythic hero's life as the central focus of the story. Wrapped in the composer's wondrous, mood-shifting music for well over three hours, the 2004 Festival International d'Art Lyrique d'Aix-en-Provence production, recorded at Paris' Palais Garnier, is marked by an extremely theatrical sense of character-driven drama. TV director Vincent Bataillon captures this volatility fully on the 2006 two-disc DVD set and the performance itself benefits significantly from a solid cast lending their voices to some of the composer's most breathtaking arias. Despite its tepid London debut in 1744, the oratorio has understandably raised its standing among Baroque aficionados to become one of Handel's most respected works.

Baritone William Shimell plays the title role in a rather brutish monotone that sometimes overshadows his character's aching vulnerability, even though his singing is mainly superb. At certain moments, such as his big air in Act II, "Alcides' name in latest story", he reveals an innate ability to convey not only his character's imminent fate but also a strong heroic sense. Regardless of the title, the oratorio is dominated by Hercules' distraught wife Dejanira, and mezzo-soprano Joyce DiDonato runs with the opportunity with a feverish performance that takes advantage of her theatrical vibrancy and vocal agility. Her climactic scene of madness, showcased in the air, "Where shall I fly?", perfectly reflects DiDonato's total commitment to the role. As Hyllus, tenor Toby Spence is marginally less impressive in capturing his young character's callow feelings toward his father's young captive, Iole, but he still manages to conquer the most prominent of the virtuoso runs in his many arias with great dexterity. With unsullied purity, soprano Ingela Bohlin affectingly sings Iole, the object of Dejanira's jealousy, while in a trouser role, mezzo-soprano Malena Ernman is able to bring out a palpable masculinity in the smallish role of Lichas the Herald.

Another powerful asset to this production is the masterful baton of Baroque specialist William Christie, who vividly leads the period instrument orchestra of Les Arts Florissants. Yet, with the combined power of the performers and musicians, including a powerfully diverse chorale, the overall gray-toned darkness of the production becomes wearing over its marathon run. Even in the jubilation of the final chorus celebrating the marriage of Hyllus and Iole, there is a pervasive somber note sounded by the melancholy sets. Compared to Peter Sellars' legendary 1996 rethinking of Handel's "Theodora" (also on DVD) in a modern-day political setting, this staging does not take as many artistic risks in plumbing the emotional depths of this classic work. Granted, "Hercules" is not as powerful an oratorio, but I just wish Bondy trusted a little more variation in his vision. For all that, this is still a most worthwhile record of the composer's under-appreciated work.

Handel's oratorio is presented here by Luc Bondy in operatic form. And on the most part it is most effective. If I were to be honest though I was not a fan of the production values, the sets are very spare which will be unappealing to some people(especially if you are a traditionalist) and the performers look as though they've just walked off from the street. It did look as though it was part of a rehearsal and for this that was the not the feeling I wanted to have. The scene with Hyllus preparing to leave his mother is rather too casually done. However, the orchestral playing is absolutely fantastic especially in the third act prelude. You can tell that William Christie loves this music and that he specialises in that style, and his lively reading of the score doesn't suggest otherwise. The chorus play narrative and moral roles, both of which are done superbly with the drama sure and the balance between the voices is without fault. The principal singing ranges from very good to outstanding. Toby Spence maybe fares the weakest, mainly because of the scene that I mentioned beforehand being too dramatically casual, but the extreme flexibility of Hyllus' role is done with utmost confidence overall. William Shimell occasionally has moments where he is a little too monochromatic, but vocally and dramatically he is almost always a very commanding lead indeed. Ingela Bohlin is very affecting, with movie-star looks and a truly beautiful voice. Malena Ernman fits the trouser role of Lichas very well, she does bring masculinity to the role and she has a lower register that will take your breath away. The star though is Joyce DiDonato, it is a profoundly moving performance and her technique and singing as always is close to perfect. All in all, a very interesting production. 8/10 Bethany Cox