Judas Maccabaeus-Mcg Import
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|1. Judas Maccabaeus: Overture (Grave - Allegro - Lentement - Allegro)|
|2. Judas Maccabaeus: Act 1: Chorus: Mourn, Ye Afflicted Children|
|3. Judas Maccabaeus: Act 1: Recit: Well May Your Sorrows|
|4. Judas Maccabaeus: Act 1: Duet: From This Dread Scene|
|5. Judas Maccabaeus: Act 1: Chorus: For Sion Lamentation Make|
|6. Judas Maccabaeus: Act 1: Recit: Not Vain Is All This Storm Of Grief|
|7. Judas Maccabaeus: Act 1: Aria: Pious Orgies, Pious Airs|
|8. Judas Maccabaeus: Act 1: Chorus: O Father, Whose Almighty Pow'r|
|9. Judas Maccabaeus: Act 1: Recit: I Feel The Deity Within|
|10. Judas Maccabaeus: Act 1: Aria & Chorys: Arm, Arm, Ye Brave!|
See all 34 tracks on this disc
|1. Judas Maccabaeus: Act 2: Recit: Be Comforted|
|2. Judas Maccabaeus: Act 2: Aria: The Lord Worketh Wonders|
|3. Judas Maccabaeus: Act 2: Recit:: My Arms! Against This Gorgias|
|4. Judas Maccabaeus: Act 2: Aria & Chorus: Sound An Alarm!|
|5. Judas Maccabaeus: Act 2: Recit: Enough! To Heav'n We Leave The Rest|
|6. Judas Maccabaeus: Act 2: Aria: With Pious Hearts|
|7. Judas Maccabaeus: Act 2: Recit: Ye Worshippers Of God|
|8. Judas Maccabaeus: Act 2: Duet & Chorus; Oh! Never, Never Bow We Down|
|9. Judas Maccabaeus: Act 3: Aria: Father Of Heav'n!|
|10. Judas Maccabaeus: Act 3: Recit: See, See Your Flames|
See all 31 tracks on this disc
Un oratorio qui révèle l'esprit flamboyant de Haendel, son esprit moderne aussi. McGegan sait hisser sa phalange (le Philharmonia Baroque Orchestra) à bonne hauteur. Un enthousiasme qui se communique à un Guy de Mey et une Lisa Saffer extatiques. La dimension puissante et épique de cet oratorio est bien rendue par l'ensemble des interprètes. Une vigueur et une jeunesse qui rejoignent les versions historiques de Somary et King. --Eric Frank
Most Helpful Customer Reviews on Amazon.com (beta)
When David Thomas as Simon exclaims "The Lord worketh wonders," the presence of the Old Testament God seems manifest. When Guy De Mey as Judas commands "Sound an alarm," you may have a visceral desire to grab sword and shield and head off to battle. Patricia Spence has one the strongest, most dramatic mezzo deliveries I have heard and Lisa Saffer sings with such elegant beauty that her performance alone would be worth the price of the entire recording.
Both orchestra and chorus deliver their parts with a dramatic force appropriate to the work, but never become overwrought and never loose sight of the many fine subtlties in this score. Special praise goes to McGegan for avoiding a problem which often plagues Handel recordings. Never once does the orchestra threaten to smother the soloists.
Not only is this the finest Handel recording I have ever heard, it is the best I ever expect to experience.
The soloists are all brilliant. A great job by Nicholas McGegan. If you've been looking for a beautiful Judas Maccabaeus recording, this is it.
Handel wrote this massive oratorio 'on speculation' - that is, in anticipation of a 'government' victory over the invading Jacobite forces of The Young Pretender in 1745. That victory was not achieved until the Battle of Culloden in 1746, the last-ever military engagement on British soil. Handel was never blind to commercial opportunity; this and other concert pieces he promoted during the war years were intended to stimulate patriotic fervor of the sort that would sell tickets. Judas Maccabaeus is above all a celebratory 'John Bull' oratorio, replete with martial trumpets and pyrotechnic percussion. It's Handel at his most English both in language and in musical affect. In fact, a listening comparison of Judas Maccabaeus with any of the young Handel's Italian cantatas would reveal how completely assimilated the Saxon became to his adopted lands, first to Rome and then to London.
The historical Judas Maccabaeus was the 'resistance' fighting hero against the Syrian occupation of Judea in 168 BCE, still celebrated as The Feast of Lights. The libretto for Handel's oratorio was explicitly dedicated to the Duke of Cumberland, and the premiere performance wasn't offered until 1747, after Culloden. The music is as 'public' and festive as any of Beethoven's later heroic overtures, yet it's full of musical subtleties and passages of virtuosic vocal display. Judas is sung on this recording by tenor Guy de Mey, whose voice is aptly heroic and whose vocal technique is fully capable of the extended sixteenth-not flourishes of the role.
But as I said above, this music is "all about the choir." Forty-seven singers are listed in the UC Chamber Chorus roster. Ordinarily that would amount to an acoustic disaster, but this choir was superbly rehearsed and disciplined. Their tuning is top-notch. Their attacks and releases are precise. Their diction is so clear that one can almost understand most of the words, a rare treat in choral performances of the English language. In fact, their diction is so clear that one can identify their dialect of English; it's pure Californian! (British listeners! Don't be snobbish! 20th C Queen's dialect is no closer to 18th C Hanoverian English than Berkeley is to London.) It helped, one supposes, that the recording was made in the very high-tech sound studio of the George Lucas film industry.
Interested parties, please note:This two-CD has been re-released at a bargain price.