H+H goes out with dramatic flare

Handel’s Saul is a classic oratorio in form, with orchestra, chorus and soloists who take their turn, script in hand, at the front, but very operatic in temperament. The story is the biblical tale: David has saved Israel by killing Goliath and returns to a hero’s welcome. King Saul is jealous and fearful of being replaced by the people’s new favorite and wants David dead. He tries to enlist his son Jonathan to kill David, but Jonathon is friends with David and unwilling to obey his father. The H+H chorus was in its usual magnificent form. The quality of the chorus is testified by the use of chorus members to take smaller solo roles, with no obvious difference the quality of the voices compared to the five featured soloists. Making a brief but joyful appearance was the Young Women’s Chamber Choir, waving ribbons and welcoming home the hero. The role of David was played by countertenor Iestyn Davies. I apologize to all fans of Richard Dyer-Bennett, but I have never enjoyed the counter-tenor voice. When David and Micha were performing duets it sounded as if two sopranos were on stage. Both sopranos had beautiful voices, though Joelle Harvey seemed a bit tentative at times. Elizabeth Atherton showed her operatic heritage with dramatic flair; when she sang her scorn of the commoner, David, scorn fairly dripped from her face. She did have a minor annoying facial tic that should be corrected. Bass-baritone Jonathan Best played the Lear-like King Saul to a T and was in fine voice. Perhaps the weakest link was tenor Robert Murray as Jonathan. His singing and acting were somewhat too low-key. The H+H orchestra, augmented with kettle drum, harp and lute, was as magnificent as expected. A fine end to the bicentennial season.