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Handel: Susanna - Oratorio in Box set, Import

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Product Details

  • Audio CD (April 25 2000)
  • Number of Discs: 3
  • Format: Box set, Import
  • Label: MD & G
  • ASIN: B00004NHPB
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Disc: 1
1. Susanna Oratorio In 3 Parts HWV 66: Overture
2. Susanna Oratorio In 3 Parts HWV 66: Act I - Chorus - How Long, Oh Lord
3. Susanna Oratorio In 3 Parts HWV 66: Act I - Recitative - (Joacim) Our Crimes Repeated
4. Susanna Oratorio In 3 Parts HWV 66: Act I - Air (Joacim) - Clouds O'ertake The Brightest Day
5. Susanna Oratorio In 3 Parts HWV 66: Act I - Recitative - (Susanna) Oh Joacim! When Thou Art By
6. Susanna Oratorio In 3 Parts HWV 66: Act I - Duet - (Susanna, Joacim) When Thou Art Nigh
See all 22 tracks on this disc
Disc: 2
1. Susanna Oratorio In 3 Parts HWV 66: Act II - Recitative (Joacim) - Frost Nips The Flow'rs
2. Susanna Oratorio In 3 Parts HWV 66: Act II - Air (Joacim) - On Fair Euphrates' Verdant Side
3. Susanna Oratorio In 3 Parts HWV 66: Act II - Recitative (Susanna )- Lead Me, Oh Lead Me
4. Susanna Oratorio In 3 Parts HWV 66: Act II - Air (Susanna) - Chrystal Streams In Murmurs Flowing
5. Susanna Oratorio In 3 Parts HWV 66: Act II - Recitative (Susanna, Attendant) - Too Lovely Youth
6. Susanna Oratorio In 3 Parts HWV 66: Act II - Air (Attendant) - Ask If Yon Damask Rose Be Sweet
See all 20 tracks on this disc
Disc: 3
1. Susanna Oratorio In 3 Parts HWV 66: Act III - Chorus - The Cause Is Decided
2. Susanna Oratorio In 3 Parts HWV 66: Act III - Recitative (Susanna) - I Hear My Doom
3. Susanna Oratorio In 3 Parts HWV 66: Act III - Air (Susanna) - Faith Displays Her Rosy Wing
4. Susanna Oratorio In 3 Parts HWV 66: Act III - Recitative (1st Elder) - Permit Me, Fair
5. Susanna Oratorio In 3 Parts HWV 66: Act III - Air (1st Elder) - Round Thy Urn My Tears Shall Flow
6. Susanna Oratorio In 3 Parts HWV 66: Act III - Recitative (Susanna) - 'Tis Thus The Crocodile
See all 23 tracks on this disc

Product Description


In Handel's vast catalogue, Susanna follows Solomon and precedes Theodora as one of a long sequence of oratorios, which also includes his masterpiece Messiah. Written in just six weeks in the summer of 1748, Susanna demonstrates the mature Handel at near to his incomparable best. The story is set in Babylon during the Jewish exile, telling a still relevant tale of frustrated desire, corruption and perjured witnesses in which the virtuous and beautiful Susanna is falsely accused of adultery. The oratorio encompasses drama, humour, nostalgia and the eventual triumph of justice, from a wealth of melody Handel reserving his finest writing for his heroine, here most ably sung by the mezzo-soprano Elisabeth von Magnus. There is strong support from the alto Syste Buwalda as Susanna's husband, Joacim, soprano Ruth Holton as the Attendant and Daniel, and from John Elwes and Tom Sol as the Elders. There are no gimmicks, just fine performances of great music recorded with a transparently natural sound. Although Susanna could be squeezed onto two discs, MDG has sensibly given each part its own CD, presenting the whole in a full double jewel-case with an extensive booklet including photographs and the full text. --Gary S. Dalkin

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Amazon.com: HASH(0x9e594894) out of 5 stars 2 reviews
9 of 9 people found the following review helpful
HASH(0x9e4a8cf0) out of 5 stars A "Susanna" That Gets to the Heart of the Matter Dec 14 2009
By Nicholas A. Deutsch - Published on Amazon.com
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Of the magnificent quartet of works that crown Handel's career in English oratorio, SUSANNA is the least-known and least-recorded. This is probably due in part to its unusual mix of musical genres, ranging from ornate, extended Italian-opera style arias to simpler strophic English ballad-opera ditties, and to the comparatively minor role played by the chorus. Yet musically it is as rich a score as SOLOMON, THEODORA or JEPTHA, and dramatically - whatever the shortcomings of its libretto - it carries conviction, especially in the moving portrait of its heroine, comparable in many ways to Theodora.
Likewise, whatever its passing faults, this is a fine recording. Credit goes above all to Peter Neumann, one of the best, most natural Handel conductors around. I find his recordings wear well. The standard of musicianship is high, there is an unforced human warmth to the performance, and the feel for the specific spirit of the work is nearly infallible. This set certainly deserves its place on the shelf beside the very different (and sadly deleted) Nicholas McGegan version.
Two thoughts about casting. The role of Daniel was first played by "the Boy," and most female singers who attempt the part try (rightly, I think) to suggest a pre-pubescent male voice. Concerning the role of Joacim, Susanna's husband: the three recordings I know - Neumann, McGegan and a recent William Christie broadcast - use a countertenor, and all three singers have trouble with the tessitura. The part however was first sung by a female alto, Caterina Galli, who was also Handel's original Solomon. My guess is that were a singer like Sarah Connolly to tackle the part, it would change our perception of the role.
4 of 6 people found the following review helpful
HASH(0x9e669120) out of 5 stars VIRTUE NOT QUITE TRIUMPHANT Feb. 17 2007
By DAVID BRYSON - Published on Amazon.com
The liner with this set proclaims `It goes without saying that our audiophile label refrains from any sort of sound-modifying manipulation with reverberation, sound-filters, or limiters', although, as you can see, they say it anyway. Sadly, I myself have to say that it is precisely this organic and additive-free sound that prevents me from being more enthusiastic about the production. Right from the overture I found the 1999 sound-quality to be rather dull and `dead'. For a moment, during the opening chorus, I began to hope that this might not be too much of a problem, but when the countertenor Sytse Buwalda set off on the first solo number I started to appreciate how matters were going to develop. The first chorus has an almost Bachian darkness about it, and the recorded sound was by no means inappropriate. The trouble is mainly in the way it treats the soloists. In brief, it reduces the impact of what I like about them and amplifies the effects that I don't like. More's the pity, because there is a great deal about this performance of this little-recorded work that is really very good indeed.

To start with the best things about this set, the choral and instrumental work is probably first-class. I say `probably' because even this is slightly dulled by the recording, but not enough to disguise the clear and distinct English of the chorus and the brilliant precision of their rapid passage-work in the closing number of act I, nor some very nifty and agile orchestral playing. In general the sense of style is apt and proportionate, and the soloists, whatever my reservations, are not only technically accomplished but rise very expressively to the beauty of the arias. Just now and again I would have liked a bit more liveliness to the tempo in the solo numbers, and of course the recording may have set me thinking this way, but the real problem I have is with the soloists' tone and enunciation. The first soloist we hear is Buwalda, and he gives me the most difficulty by far. His English elocution comes over as if he had a Kartoffel in his mouth, and everything I would not have liked about his voice anyway is made more unattractive by the engineering. He is the sort of countertenor who sounds as if his underpants are too tight, and I was visited by reminiscences of Chaucer's Pardoner. Elisabeth von Magnus as Susanna gets her tongue round English rather better, but I suspect better than she is allowed to sound. Tom Sol's English is more or less perfect, my only difficulty specific to him being his intrusive h's in coloratura music - `flay-hay-hay-hay-hay-hay-m' for `flame' and such like. John Elwes as the First Elder does very well (subject to my general strictures about the sound), but Ruth Holton does not seem to be very well served at all. In the touching little cameo role as the widowed servant all is well enough with her and her sweet little song `Ask if yon damask rose', but either her voice is not right for the prophet Daniel, or the recording lets her down, or both. Surely Daniel's denunciations of the lying Elders need a ringing declamatory tone, rather than the distant impression of a female vicar leading the responses at Evensong that we have here.

Everything that is important in the oratorio Susanna is by Handel, but it is not all by Handel nevertheless. The author of the libretto is unknown, but its diction is flat-footed and sometimes ridiculous, and of course the central action relates to the attempted assault on Susanna, and their subsequent allegations of adultery on her part to save their own skins at the expense of hers, by the lecherous and treacherous Elders. Strauss would have had one way of setting such a topic to music, but not only were conventions different in Handel's time, Handel did not have a first-class librettist of the calibre of Hoffmansthal or anywhere near it. It's hard to know how the librettist meant the utterances of the Elders to be understood. It may be that he intended them to be grotesque and ridiculous, but for me the author of `Say, will the vulture leave his prey/And warble thro' the grove', or of `Beneath the cypress' gloomy shade...I saw the lovely shepherd laid' is capable of taking more or less anything seriously. The performers have a delicate task in interpreting Handel's setting of such an episode, and all credit to them - I believe they get it about right. I differ slightly from the author of the excellent liner note in that I find no `humour' in Handel's approach - he surely had far too much taste to find anything funny in it. However to find the Elders ridiculous is not the same thing, and I believe the singers and the conductor alike get just the right tone of absurdity, along with the fear, defiance and revulsion, that goes into the startlingly tense and dramatic trio that Susanna sings with her assailants. Above all they remember, as Handel did, that whatever the dramatic considerations the first and foremost thing is to remain musical.

The liner note is exemplary. The German essay is thoughtful and helpful, and its English translation is genuine English and not translationese. The libretto is given in full, again with German equivalent, and there are notes on all the performers as well as the mission-statement of the recording strategy. I hardly need reiterate that this is not my idea of a perfect Susanna, but it has a lot going for it nevertheless. As matters stand currently, it looks as if the choice is between this Susanna and no Susanna, so it has been an easy choice for me.