Xerxes

Handel’s 1738 opera was an abject failure in its day—indeed it was instrumental in prompting the composer to abandon the form in favor of oratorio—but its successful revival in the 20th century helped to spearhead a renewed appreciation of his works for the stage, partially because its ravishing opening aria, "Ombra mai fù," had become famous in a purely instrumental guise as "Handel’s Largo." The plot is a romantic roundelay typical of baroque convention: Persian king Xerxes falls in love with Romilda and abandons his wife Amastre, who disguises herself as a soldier to be near him. Romilda in turn loves Xerxes’s brother Arsamene, who the king exiles. Her sister Atalanta is also enamored with Arsamene, and unsuccessfully encourages Romilda to marry Xerxes. After all the characters bemoan their misery at length, Xerxes issues death sentences against several, but relents after Amastre threatens suicide and everyone is forgiven, including Romilda and Arsamene. This 2017 production from the Frankfurt Opera exhibits some odd textual choices, clumsily transferring several scenes from the end of Act II to the beginning of Act III. But the playing of the Frankfurter Opern- und Museumorchester under Constantinos Carydis is admirable (apart from a few slow tempi), and the vocalism of Gaëlle Arquez (Xerxes), Lawrence Zazzo (Arsamene), Elizabeth Sutphen (Romilda), Louise Alder (Atalanta), and Tanja Ariane Baumgartner (Amastre) is exceptional. And Tilmann Köhler’s staging, with characters in modern dress around a long dinner table, at least has the virtue of elegance. Presented in DTS 5.1 and PCM stereo, this is recommended. (F. Swietek)