The rarely performed baroque oratorio was presented with a clever family-style concept by director Sydney Roslin
In that year, two 22-year old German composers wrote some of their most precocious and important vocal music, pieces that to this day remain central to the repertoire.
With this piece, Handel barges noisily through the swinging doors of the saloon of Eighteenth-century oratorio tradition, already fully at ease with the Baroque practice, begun a generation or two before, of alternating recitatives and arias. While the parallels between Handel and Bach are plentiful, Handel shows even in this early work his uncanny gift for imbuing all musical moments, even strictly instrumental ones, with an expansive dramatic narrative and scope.
Opera Neo is a group folks should know. Their production was in all ways delightful and impressive. The casting of characters was superb: Brian Skoog was a masterful commendatore as Time, his sable tenor voice rich and strong as he predicted a terrible future in the recitative “The hand of Time pulls down the great colossus of the sun.
The orchestra, under the baton of Jory Vinikour, was balanced and emotionally powerful. Conducting ably from the harpsichord and organ, he led period instruments that provided soft string edges and gritty wind sounds that mirrored text conceits as the ensemble moved gracefully in and out of the dialogue.
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