By the rivers of Babylon...
Belshazzar, written in 1744, was among the first English oratorios that Handel composed after he had abandoned the Italian opera form, and it consequently has an interesting place among the composer's works, still retaining some the dramatic content and style of opera composition. The dramatic content comes about due to the nature of the subject, which is biblical in nature, if not entirely a religious piece of work. So while there are contemplative hymns to God and fervent pleas for deliverance sung throughout, the historical and religious conflicts of the 539BC setting, where the Babylon of King Belshazzar is under siege from Cyrus, Prince of the Medes and Persians (who enters the city via the diverted channel of the river Euphrates), means that there is a bit more variety to the content and the tone, as well as the opportunity for a staging to apply other meaningful references that could have some present-day significance.
The plot is not overly complicated for a...
A masterpiece masterfully done
Belshazzar comes towards the end of Handel's career. He had given up opera for oratorio. And his oratorios here come close to opera. Indeed Semele and Hercules from the same period have frequently been produced as operas. These works freed Handel from the restraints of baroque opera. So he could focus more on the drama.
In Belshazzar it all comes together. It's a Handel music drama, and it's a marvel. Glorious music. Good drama. Jacobs and his troop do a superb job. The production is minimal but quite effective. It furthers the plot rather than going against it as so many productions do todaty. No trenchcoats.
If you like Handel you must see this production. And if you think that Italian baroque is not your cup of tea, you will still be enchanted with Berlshazzar. There are no extras but the included booklet is very good.
"Crowning Achievement of Handel's `Opera of the Mind'"
This first-rate production of Handel's Belshazzar, conducted by Rene Jacobs and directed by Christof Nel, was recorded at the 2008 Festival d'Aix-en-Provence and originated at the Staatsoper Berlin. Once again--as with Theodora (Sellars/Christie), Hercules (Bondy/Christie), Semele (Carsen/Christie), and Acis and Galatea (McGregor/Hogwood)--we are dealing with a staged production of a piece that Handel did not conceive as such. Nonetheless, Belshazzar is one of Handel's most dramatic oratorios, based on a well known story from the Biblical book of Daniel. The libretto by Charles Jennens (who also prepared the text of Messiah and Saul) even includes "stage directions." As a result, this dramatisation seems entirely appropriate. Harnoncourt's 1976 recording Handel: Belshazzar retains its place in my affection, but this production benefits from its visual aspects and some 35 more years of experience with baroque...
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