Solomon’s Knot in Handel’s Israel in Egypt at Wigmore Corridor

Handel would in all probability have anticipated somewhat extra singers, however right here we had simply eight, plus an orchestra primarily based round seven strings. The work doesn’t use Handel’s most extravagant orchestra, however Israel in Egypt does want two oboes, two bassoons, two trumpets, three trombones and timpani. The challenges of performing the work with eight singers are commensurately larger by way of stability than say Bach’s Mass in B minor.

Thus, this was a efficiency of losses and features. What undoubtedly compelled was the sheer narrative ingredient. Handel’s choral writing was changed into a robust narration because the eight singers, all acting from reminiscence, spoke on to us. The varied plagues in Half Two: The Exodus have been all brilliantly captured, the singing filled with vivid contrasts. The stability between singers and instrumentalists meant that at occasions the vocal ensemble felt a part of the larger instrumental ensemble in order that Handel’s full of life orchestration instructed. In large-scale choral performances, these are particulars that may typically be obscured. In Half Three: Moses’ Music, the sheer directness of the singers’ efficiency counted for lots. We felt as if the story was being conveyed to it.

However, I’ve to confess that in some choruses, notably in Half Three, I did
miss the choral weight that greater forces carry. For lots of the bigger choruses, Handel doubles a few of the vocal traces with the
trombones and in others oboes too get in on the act. There have been moments
in these choruses when what the singers have been doing appeared incidental to
the general sound. In lots of choral performances of Handel, I moan that
the refrain is simply too dominant, so I admit that it appears perverse of me to fret in regards to the
reverse right here.

The solos in Israel in Egypt virtually appear incidental and positively having them sung by choir members, as right here, makes nice sense. David de Winter opened issues with a vivid narrative recitative, then Kate Symonds-Pleasure was sober and managed in her solo opening the primary refrain. Thomas Herford continued the recitative, and William Shelton delivered his ‘frog’ aria with great relish.

In Half Two, Zoe Brookshaw and Rebecca Lea have been superbly balanced and remarkably intimate in ‘The Lord is my power’, while Jonathan Sells and Alex Ashworth made ‘The Lord is a person of warfare’ into one thing somewhat vivid. David de Winter returned with extra robust story-telling in ‘The enemy mentioned’, Zoe Brookshaw was in positive type for ‘Although didst blow’, while Kate Symonds-Pleasure and Thomas Herford discovered a beautiful stability in ‘Thou in thy mercy’. William Shelton mixed lyrical magnificence with severe manner in ‘Although shalt carry them in’.

The singers’ achievements shouldn’t be minimised and the sheer tour de pressure of performing the work like this from reminiscence very a lot carried away the night. Placing on Israel in Egypt in any respect with such small forces took daring, and carrying the narrative so strongly and straight was a positive achievement.

Solomon’s Knot
Zoe Brookshaw & Rebecca Lea sopranos, Kate Symonds-Pleasure & William Shelton altos, Thomas Herford & David de Winter tenors, Jonathan Sells & Alex Ashworth basses
George Clifford, Gabi Jones, James Toll, Will McGahon violins, Joanne Miller, viola, Sarah McMahon cello, Jan Zahourek bass, David Lanthier & Robert de Bree oboes, Inga Maria Klaucke & Ester van der Veen bassoons, Fruzi Hara & Thom Hewitt trumpets, Emily White, Claire McIntyre, & Adam Crighton trombones, Ben Fullbrook timpani, James Johnstone harpsichord & organ