The war follows everyone home.
This emotional shocker was inspired by a Greek tragedy written more than 2,500 years ago...and director Peter Sellars blows the lid off any idea that it isn't piercingly relevant today!
Handel's brilliant music matches Sophocles's drama every step of the way as Dejanira, wife of supreme warrior Hercules, waits years for him to return from battle. Finally, he does — and it's to a hero's welcome. But there's danger in his latest victory. This time Hercules didn't kill some mythic monster; he's killed a mortal enemy and enslaved the man's lovely daughter. Now he's brought her home...threatening everything Dejanira holds dear.
Mad with jealousy, she sends her husband a gift that promises to rekindle his passion. And burn he does — engulfing himself and everyone around him in emotional devastation!
Alice Coote! Eric Owens! David Daniels! Lucy Crowe! Richard Croft! These celebrated artists — Baroque masters all — possess all the vocal allure and acting charisma this incendiary masterwork demands!
LYRIC OPERA PREMIERE
NEW PRODUCTION
On the Record
Roger Pines, dramaturg at Lyric Opera, recommends these recorded performances.
On CD
von Otter, Daniels, Dawson, Croft, Saks; Les Musiciens du Louvre, cond. Minkowski (DG Archiv)
Walker, Denley, Dawson, Rolfe Johnson, Tomlinson; English Baroque Soloists, Monteverdi Choir, cond. Gardiner (DG Archiv)
Highlights
Hunt Lieberson, with J. West; Orchestra of Emmanuel Music, cond. Smith, Harbison (Avie)
Neither of these performances is complete, although there are fewer cuts in Gardiner’s version than Minkowski’s. I have a preference for Gardiner’s native English chorus over Minkowski’s French ensemble, although the orchestral forces are entirely comparable. The choice between the vocal teams is an impossible one, for the singers — all impeccable as to style — are so radically different in timbre; for example, in the Minkowski performance the role of Lichas is assigned to the matchless American countertenor David Daniels (who sings it in Lyric’s production), whereas Gardiner assigns it to an admirable — if rather cool-voiced — contralto, Catherine Denley. It’s also purely a personal preference when choosing between two portrayals of such high quality as the Dejaniras of the regal Sarah Walker and the fiery Anne Sofie von Otter — each sings with complete command of both the vocalism and the psychology of this highly emotional character. As with the singers previously mentioned, when one considers the two tenors and two sopranos, one finds Handelians of the absolute first order. The sopranos, Jennifer Smith (Gardiner) and Lynne Dawson (Minkowski), both devastate the listener in the powerful opening aria. Gardiner’s Hercules, English bass John Tomlinson, has an advantage over his counterpart on the Minkowski recording, Gidon Saks, in singing his native tongue, but both singers are similarly vigorous and forthright as Hercules. If you want a more complete version, go with Minkowski, but otherwise I would suggest going on line, finding clips of each performance, and let listening to them decide your choice.
Highlights from Hercules are included in a CD of Bach and Handel sung by the late Lorraine Hunt Lieberson. This is essential Handel singing by one of America’s most profoundly expressive artists. In addition to all seven of Dejanira’s arias, Hunt Lieberson performs the “Joys of freedom” duet with Jayne West singing Iole. This material was recorded with a Boston-based ensemble, Emmanuel Music, with whom Hunt Lieberson was closely associated (as she was with the disc’s two conductors, John Harbison and the late Craig Smith).
On DVD
DiDonato, Bohlin, Ernman, Spence, Shimell; Les Arts Florissants, cond. Christie, dir. Bondy (Bel Air Classiques)
Only one choice here, but fortunately the performance is exceptional. Luc Bondy’s relentlessly stark, modern-dress production focuses attention squarely on the individuals, especially Dejanira. Joyce DiDonato has immersed herself heart and soul in this complex character, giving a blazing, ferocious performance bursting with dramatic commitment and astounding musical imagination. The team surrounding her is similarly memorable: William Shimell (handsome and hugely charismatic in the title role), whose big scene with DiDonato is riveting; Toby Spence (Nanki-Poo in The Mikado at Lyric in 2010-11) as Hyllus, Malena Ernman (looking somewhat androgynous but very striking nonetheless, and singing Lichas with a very pure-toned mezzo) as Lichas, and the lovely Ingela Bohlin, whose Iole makes her first entrance clutching her father’s ashes before launching into her first aria. The whole of this cast — and the musically and dramatically very accomplished chorus — make a coherent and dedicated ensemble, under the baton of one of today’s most distinguished Baroque specialists, William Christie.
BOLD TYPE = Artist appearing in this opera at Lyric in 2010-11