Arne: Artaxerxes (English Orpheus Vol 33) /Robson · Partridge · Spence · Edgar-Wilson · Bott · Hyde · Parley of Instruments · Goodman

In its construction (opera seria) and tunefulness Artaxerxes is equal to many of Handel's Italian operas, in my opinion. Perhaps I'm overly influenced by the joy and novelty of discovering a baroque opera written for and performed in my native tongue. But just listen, for example, to "Fair Aurora, pr'ythee stay", "Amid a thousand racking woes", "Thy Father! away, I renounce the soft Claim", "O too lovely, too unkind", "By that belov'd Embrace", "Water parted from the Sea", "Tho' oft a Cloud, with envious Shade", "'Tis not true, that in our Grief" and "The Soldier tir'd of War's Alarms" and see if you don't find yourself inclined to say the same. These are some of the most beautiful and thoughtfully moving, gentle, most fiery and dramatic, determined tunes I have heard.

Dramatically this is a fast-moving and exciting opera, expressing quite a wide range of changing emotional states. The plot is one of palace intrigue, misjudgement, confused or mixed loyalties - the dilemmas faced by Arbaces, his sister Semira and his lover Mandane - and even by Arbaces' ambitious and disconent father Artabanes - are thoughtfully explored. Each character is well portrayed in the libretto and, needless to say, Thomas Arne's settings are always appropriate - he, like Purcell, evidently did not take the problem of setting words to music lightly. The libretto is well-balanced between dialogue and aria, flowing seamlessly and yet creating appreciated variety and motion, thanks in no small part to Arne's musical ability, and nothing is amiss.

Now, the soloists: given that at the present time this is the only recording of it in existence, one had better hope they do the opera justice. Well, they certainly do (and they're not the singers that I usually look for when it comes to choosing recordings). Patricia Spence portrays the sensitive and loyal Arbaces brilliantly - she is truly impressive, deeply moving in arias such as "O too lovely, too unkind" and "By that belov'd Embrace". Catherine Bott, a most skillful singer, excels herself here, to my surprise (the only other recording I know I like her in is Pickett's recording of John Blow's "Venus & Adonis"); her recitatives demonstrate her involvement in the part as much as do her arias. And one has to admire her effortless performance of "The Soldier tir'd of War's Alarms". As for the resplendent duet between Arbaces and Mandane, "Fair Aurora, pr'thee stay", it's a joy to hear, it really is!

Though I'm not a great fan of countertenors, Christopher Robson, as Artaxerxes, is in good voice and at least he's tolerable (unlike many countertenors) - and dramatic. He's not got the voice of Daniel Taylor, of Lawrence Zazzo or of David Daniels but, having said that, they don't always give shining performances (and at least he's better than James Bowman). The presence of a decent countertenor sometimes adds to rather than distracts from the variety of voices and can be surprisingly effective in some instances - in fact Robson blends in very well on this recording.

The two tenors - there are no basses - Ian Partridge and Richard Edgar-Wilson, singing the role of Artabanes, Arbaces' father and favourite of the Royal Family, and Rimenes, an army general and confidante of Artabanes - fulfil their roles. Ian Partridge does a particularly good job of Artabanes, even if he's not in possession the most interesting of voices. Richard Edgar-Wilson is unremarkable in my opinion. Philippa Hyde sings Semira, Artabanes sister and lover of Artaxerxes, well and certainly isn't the weak link in the chain. I don't think there is a weak link as such, my main uncertainty being Rimenes or perhaps the feeling that one of the tenor roles should be a baritone, or at least not quite so similar to the other.

Roy Goodman's conducting, the Parley of Instruments' playing and Hyperion's recording are clear, well-balanced and precise and let down neither the soloists, the plot nor the individual musical numbers. All-in-all, unless one knows one has a particular aversion to Arne (which is unlikely) or to any of the soloists, this recording cannot possibly disappoint.

If only someone had taken up opera in English where Thomas Arne left off! If only he had written more, or if only there were more than just Artaxerxes and Alfred currently on record! And, for anyone who is still in doubt about the worthiness of this native English opera, let me quote from Holman's sleeve notes: "Haydn, who saw it in 1791, was delighted with it, and reportedly said he 'had no idea we had such a opera in the English language'. Few people in modern times can have said anything else."