KEISER: Croesus.(Review)

KEISER: Croesus

[] Roschmann, Haller, Stojkovic, Eisenfeld; Azesberger, Trekel, Pushee, Gura, Schafer, Hager, Mannov; Akademie fur Alte Musik Berlin, RIAS Kammerchor, Jacobs. Texts and translations. Harmonia Mundi 901714.16(3)

Reinhard Keiser (1674-1739), named in The New Grove as "the central figure in German Baroque opera," all but disappeared from the musical landscape immediately after his death. If his 1730 singspiel Croesus is any indication, Keiser's mastery of counterpoint and harmony do indeed place him squarely within the Baroque ideal of musician as master craftsman. Beyond that, however, he is a startlingly inventive melodist who uses ornamentation for clear dramatic purposes, keeps his recitatives both conversational and interesting and rearranges instruments at every opportunity to highlight changes of mood and scene. Conductor Rend Jacobs is to be commended for spearheading the rediscovery of this rarity, first in a production at Staatsoper Unter der Linden Berlin in January 1999, and now with this superlative recording.

In Croesus, a love pentagon rearranges itself against a backdrop of political uncertainty. After boasting that his wealth will keep him happy and safe, Croesus, King of Lydia, is defeated by Cyrus, King of Persia. Elmira, a Median princess harbored by Croesus, loves Atis, the Lydian king's mute son, who regains speech when he sees an infidel about to slay his father. Orsanes, a Lydian nobleman, loves Elmira; Clerida, a Lydian princess, loves Orsanes; and Eliates, another Lydian prince, loves Clerida. After attempting to murder Atis, Orsanes is revealed to be unworthy of anyone's love, so the couples pair off as they should, and all retire happy and rich in the new climate of forgiveness.

For the most part, the historically based saga of Croesus and Cyrus takes a back seat to the trials and tribulations of the fictitious lovers, except as the state of war affects the success of their amorous pursuits. The comic business for the servants, typical of Hamburg operas of the time, is not so interesting as the observations they make on the pointlessness of war and the value of entertainment. The most satisfying comic turn occurs when Atis, after ...