musica Dei donum
CD reviews
Johann Adolf HASSE (1699 - 1783): Serpentes ignei in deserto
Julia Lezhneva (Angelus), Bruno de Sá (Josue), soprano;
David Hansen (Eliab), Philippe Jaroussky (Moyses), Jakub Józef Orliński (Nathanael), Carlo Vistoli (Eleazar), alto
Les Accents
Dir: Thibault Noally
rec: June 20 - 23 & 25, 2023, Paris, Studios RIFFX, La Seine Musicale
Erato - 2173239904 (© 2024) (91'18")
Liner-notes: E/D/F; lyrics - translations: E/F
Cover, track-list & booklet
Score
Spotify
Thibault Noally, Alexandrine Caravassilis, Tami Troman, Mario Konaka, Julia Boyer, Nicolas Mazzoleni, Paula Waisman, Koji Yoda, Kasumi Higurashi, Patrick Oliva, violin;
Patricia Gagnon, Myriam Cambreling, Joël Oeschlin, viola;
Elisa Joglar, Anne-Garance Fabre dit Garrus, cello;
Christian Staude, Clotilde Guyon, double bass;
Nicolas André, bassoon
Claire Antonini, theorbo;
Brice Sailly, harpsichord;
Mathieu Dupouy, organ
When this review is published, we have just entered the period of the year that is known as Lent, culminating in Holy Week, and leading up to Easter. Lent follows carnival season, when in the 17th and 18th centuries operas were performed across Italy. Lent was the oratorio season: the opera was closed, which means that its singers were available for performances of oratorios, which often were stylistically not very different from operas. That also goes for the oratorio which is the subject of this review. Johann Adolf Hasse was one of the leading opera composers of his time, and the oratorio Serpentes ignei in deserto bears witness to that.
However, there are some meaningful differences between this oratorio and many other specimens of the genre from the first half of the 18th century. Most oratorios had a libretto in Italian, but this oratorio's libretto is in Latin. This suggests that it had rather a liturgical function, whereas oratorios in the vernacular were often little more than entertainment - albeit with an edifying purpose - and were performed outside the church.
Serpentes ignei in deserto was written for performance at the Ospedale degli Incurabili around 1733/35, when Hasse was in Venice. Its liturgical character not only explains the Latin text, but also how the work ends. The Angel sings a recitative, in which he says: "Now therefore listen attentively and hear the words of the afflicted King, while sorrowfully and piously we imitate the excellence of
the songs of David and sing the sacred poem of the Prophet." This was the introduction to a performance of a setting of Miserere mei Deus, one of the penitential psalms traditionally sung during Lent.
As oratorios were mostly performed during that time of the year, they usually included a reference to the Passion of Christ, independent of the oratorio's subject. That is the case here as well, and more explicit than in most oratorios, which again points in the direction of a liturgical function. The Angel's recitative just quoted, is preceded by a recitative and aria by Moses. The recitative ends thus: "Christ, sent to earth to redeem the world, raised up on the Cross, will free mortals from an atrocious death by His divine blood, and will Himself heal the wounds of sin." The aria refers to Corpus Christi, an important feast in the Catholic Church: "Lofty altar, precious altar, on which the Son of Man will hang wounded, sacrificed to His weeping Father, I worship you."
Moses is the only historical figure in the libretto, whereas the other characters originate from the librettist's fantasy. The libretto itself follows the story pretty accurately, although it is dramatized in order to create a lively action, aiming at involving the audience in the event.
The subject of this oratorio is an episode of the passage through the desert of the people of Israel, following their exodus from Egypt, and on their way to the promised land. They find it hard to deal with the trials and tribulations of the desert and start to complain to Moses, and through him to God. He punishes the revolting people by sending serpents which bit them to death. Moses prays to God for forgiveness, and is ordered to make a serpent of brass to be placed on a pole. Everyone who looks at the serpent is saved. In Moses's recitative quoted above, he explicitly connects the brass serpent with the Cross.
As I mentioned, oratorios in the first half of the 18th century were not very different from operas from a stylistic point of view. Therefore it does not come as a surprise that the arias are very operatic, and technically demanding. They are different in length, and some give more opportunities to add cadenzas than others. The recitatives are all accompanied, which contributes to the dramatic character of the work, even though there is no real action. Oratorios were not staged, and that also goes for this piece.
The overture in three short sections is followed by a short dialogue between two opposing characters: Eliab, who represents the complaining people ("Why did Moses so promptly lead us out of Egypt?") and Eleazar, who expresses his trust in God ("He who has always checked our invading enemies: our merciful God will preserve us now once more"). In the aria Eliab expresses his feelings that he is "uncertain of survival". The aria is full of coloratura; David Hansen masters them well, and also gives a good portrait of Eliab. Unfortunately his diction is not very good; little of the text is intelligible.
Moses reacts in a recitative and aria: "O rash, presumptuous, faithless people! Let cruel furies rain down upon you. (...) From a troubled, enraged sky, let thunderbolts and tempests fall." The text and the tenor of this aria are emphasized by strong dynamic accents in the vocal and orchestral parts. Philippe Jaroussky does very well in expressing Moses's anger, also thanks to his strong voice.
Joshua is another one who expresses his trust in God: "Hope, my heart, hope and rejoice, be comforted: your light will come, your joy will come; you will not weep thus amid affliction and sadness." The tenor of this aria is reflected by a modest tempo and broad gestures in the strings; Bruno de Sá makes a better impression than on previous occasions I have heard him, but he is another one whose diction leaves something to be desired. This is one of the reasons I am often sceptical about male sopranos. I also don't like the tendency to explore the highest register; there is mostly no need for that.
Then an angel interferes, emphasizing God's anger about the complaints of his people. The aria , 'Caeli, audite, deplorate' (Ye heavens, listen and lament), is the longest and most brilliant of the entire work, and includes fast coloratura and strong dynamic differences. This aria is tailor-made for Julia Lezhneva, who delivers a great performance, which is more than vocal acrobatics; listen to the wonderfully delicate close of the aria.
The aria's B section is in strong contrast to the A section, and there the angel announces God's wrath. This is then graphically described by Nathanael: "A furious hailstorm rages, roaring downpours of rain are heard, already the drooping shoots, cast asunder, lacerated, fall with a cruel, piercing clamour." The strong dynamic accents and the powerful singing of Jakub Józef Orliński perfectly depict the "furious force" of God's wrath.
Eliab and Eleazar then beg God for mercy. The latter sings an aria in which he asks God for forgiveness, on behalf of the people. As so often, repeated notes in the strings are used to express distress and fear. Carlo Vistoli finds the right tone to communicate the character of this aria.
The angel interferes again, ordering Moses to make a serpent of brass. In the aria he expresses the joy that "the tempest of divine fire has fled". It is another great aria, dominated by rising figures and virtuosic coloratura. Lezhneva sings it well, but unfortunately it ends with a ridiculously long cadenza. It is followed by a duet in which Eleazar and Joshua express their thanks to God for his grace. Vistoli and De Sá are a very good match.
And then it is Moses who has the last say, as already mentioned. Jaroussky once again is the perfect embodiment of the leader of the people.
As one may have understood, this oratorio is an unusual and great work. Overall I am happy with this performance; the soloists do a great job, but one should not expect too much with regard to the style of singing. As far as that aspect is concerned, Jaroussky and Orliński make the best impression. The only previous recording, under the direction of Jérôme Correas, is to be preferred.
There is a second reason for that. Noally's recording suffers from a basic error, if one looks at it from a historical perspective. This oratorio was intended for performance at one of the Ospedali, which were institutions for girls and young women. There can be no doubt that they were the first performers of this oratorio. It is hard to understand why Noally opted for a performance by a male cast, with the exception of Lezhneva. It may cause some surprise that the inhabitants of the Ospedale degli Incurabili were able to sing such demanding parts, but it is known that the Ospedali had real virtuosos on various instruments, so why not in singing? One should not underestimate their skills. Correas rightly allocated the solo parts to women (with one exception).
Even so, this new recording deserves its place in the catalogue. It is nice to have to accounts of this work, whose quality deserves more than one recording. It is to be hoped that it will encourage others to turn to Hasse's large output and perform one of the many pieces that are waiting to be rediscovered.
Johan van Veen (© 2025)
Relevant links:
Julia Lezhneva
Jakub Józef Orliński
Carlo Vistoli
Les Accents