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.
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.