HANDEL Tobit (Oratorio in Three Parts)

Home , Alexander Balus, Alison Browner, Barbara Hannigan, Gideon (Handel), Jephtha (Handel), John Christopher Smith

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Boog • Perillo Hannigan • Browner Schoch • MacLeod

Junge Kantorei Frankfurt Baroque Orchestra Joachim Carlos Martini

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George Frideric CD 2

Part 2 (cont.) HANDEL 1 Air: Thou, God most high, and Thou alone (Azarias) ( Air: My Son, how happy in this thy Sweet Return (1685-1759) Belshazzar: Thou, God most high, and Thou alone (Anna) Rodalinda: Mio caro bene 2 Duet: Cease thy Anguish, Smile once more ) Chorus: Let none Despair (Israelites) (Azarias & Tobias) Hercules: Let none despair Tobit Athalia: Cease thy anguish, smile once more ¡ Accompagnato: Blest be the God of Heav’n 3 Chorus: The Clouded Scene begins to clear (Tobit & Raguel) J.C. Smith An Oratorio in Three Parts compiled by (Israelites) ™ Air: May true Joy and every blessing (Raguel) John Christopher Smith (1712-1795) Athalia: The clouded scene begins to clear Giulio Cesare in Egitto: Dal fulgor di questa spada 4 Sinfonia: Alceste: Larghetto (JCM) £ Terzetto: More chearfull appearing Libretto by Thomas Morell Symphony: Jephtha: Symphony (JCM) (Anna, Tobias & Sarah) 5 Recitative: How happy, Daughter (Raguel & Sarah) Orlando: Consolati, o bella J.C. Smith ¢ Air: Watchful angels, let me share (Sarah) 6 Air: To nobler Joys aspiring (Sarah) Esther: Watchful angels Anna ...... Maya Boog, Soprano Alessandro: L’amor, che per te sento ∞ Recitative: O King of Kings (Sarah) Sarah ...... Linda Perillo, Soprano 7 Recitative: O Azarias, I must freely own Esther: O King of Kings (JCM) (Tobias & Azarias) J.C. Smith § Air: Allelujah Azarias / Raphael ...... Barbara Hannigan, Soprano 8 Recitative: The gratefull Tribute of our thanks Esther: Allelujah Tobias ...... Alison Browner, Mezzo-Soprano (Raguel) J.C. Smith ¶ Chorus: Swift our numbers, Swiftly roll (Israelites) 9 Air: Let Songs of varied measure (Raguel) Joseph and His Brethren: Swift our numbers Tobit ...... Knut Schoch, Tenor Ariodante: Voli colla sua tromba • Recitative: Tis well, but take this caution (Raphael) Raguel ...... Stephan MacLeod, Bass 0 Chorus: Now Love, that everlasting Joy (Israelites) J.C. Smith Semele: Now love, that everlasting Boy ª Accompagnato: O Nineveh! Thy Glory is laid waste Chorus of Ninevites • Chorus of Israelites ! Chorus: Happy, happy shall they be (Israelites) (Raphael) J.C. Smith Semele: Happy, happy shall we be º Air: In Jehovah’s awful sight (Raphael) Deborah: In Jehovah’s awful sight Part 3 ⁄ Symphony: Jephtha: Symphony (JCM) @ Sinfonia: Alcina: Sinfonia ¤ Recitative: Saw ye the radiant Streams of Light Junge Kantorei # Accompagnato: Still am I persecuted (Tobit) (Tobit) J.C. Smith J.C. Smith ‹ Chorus: Ye servants of th’eternal King Frankfurt Baroque Orchestra $ Air : Cease your Pride, deluded mortals (Tobit) (Anna, Sarah & Israelites) Poro: Serbati a grande imprese Alexander Balus: Ye servants of th’eternal King Joachim Carlos Martini % Chorus: Tremble, Guilt, for Thou Shalt find (Israelites) Susanna: Tremble, guilt, for thou shalt find ^ Sinfonia: Semele: Sinfonia (JCM) Note: Many of the unaccompanied and accompanied & Recitative: Hail, Tobit! Favour’d thou of Heaven recitatives are by the younger John Christopher Smith. (Raphael & Tobit) J.C. Smith Additions made to the score by Joachim Carlos Martini * Accompagnato: Henceforth through all the are indicated by the initials JCM. changing Scenes of Life (Anna) J.C. Smith

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Sources CD 1 76:22

CD 1 Part 1: The Ninevites Part 2 1 Ouverture 5:04 Scene 1: Tobit Part 1: The Ninevites Scene 1: A Ninevite and Chorus of Ninevites ( Sinfonia 0:44 1 * Ouverture: Overture to Tamerlano Chorus: All Pow’r in Heav’n above or 2 Recitative: Happy Assyria (A Ninevite) 0:15 ) Accompagnato: Alas! To what Variety of Ills 1:55 2 Recitative: Happy Assyria (A Ninevite) Earth beneath (Israelites) 3 J.C. Smith Theodora: All pow’r in heaven above Chorus: Hear us, O Baal 1:53 (Tobit) ¡ Air: In great Jehovah (Tobit) 1:25 3 Chorus: Hear us, O Baal (Ninevites) Scene 2: Tobit and Chorus of Israelites Athalia: Hear us, O Baal 4 Recitative: How Soon Eclips’d is human joy 0:51 Scene 2: Tobit, Tobias and Azarias (Raphael) 4 Recitative: How Soon Eclips’d is human joy (Tobit) Part 2 (Tobit) ™ Recitative: Happy in thee, my Son (Tobit) 0:39 J.C. Smith ( Sinfonia: Deidamia: Sinfonia (JCM) 5 £ 5 Solo & Chorus: O Lord, whom we adore (Tobit): ) Accompagnato: Alas! To what Variety of Ills (Tobit) Solo & Chorus: O Lord, whom we adore 4:59 Air: Descend, kind Pity (Azarias) 8:57 Hear from thy mercies seat (Israelites) J.C. Smith (Tobit): ¢ Chorus: Impartial heav’n 3:04 Hear from thy mercies seat (Chorus) Athalia: O Lord, whom we adore ¡ Air: In great Jehovah, Almighty Father (Tobit) Scene 3: A Ninevite and Chorus of Ninevites 6 Recitative: The Lord hath heard my pray’r (Tobias) Rodalinda: Dove sei? Amato bene ∞ ™ Scene 3: Anna, Tobit, Tobias and Recitative: If Blindness, Scorn, 0:45 Occasional Oratorio: The Lord hath heard (JCM) Recitative: Happy in thee, my Son (Tobit) Chorus of Israelites 7 Contempt and Misery (A Ninevite) Air: Will God, whose mercies ever flow (Tobias) J.C. Smith 6 Athalia: Will God, whose mercies ever flow (JCM) £ Air: Descend, kind Pity, heavnly guest (Azarias) Recitative: The Lord hath heard my pray’r 0:27 § Chorus: O Baal, Monarch of the Skies! 1:51 8 Recitative: But Say, my Rightous Lord Theodora: Descend kind pity (JCM) (Tobias) ¶ Ritornello 0:32 ¢ 7 Air: Will God, whose mercies ever flow 2:18 (Anna & Tobit) J.C. Smith Chorus: Impartial heav’n, whose Hand shall Scene 4: Anna and Tobit 9 Duet: To Steal a Grave ev’n for a Friend never cease (Israelites) (Tobias) • (Anna & Tobit) Susanna: Impartial heav’n 8 Recitative: But Say, my Rightous Lord 0:43 Recitative: Pain’d as I am (Tobit, Anna) 0:51 ª L’Allegro, il Penseroso ed il Moderato: ∞ Recitative: If Blindness, Scorn, Contempt (Anna, Tobit) Air: Thy pleasing Face (Anna) 7:42 º As steals the morn upon the night and Misery (Ninevite) J.C. Smith 9 Duet: To Steal a Grave (Anna, Tobit) 4:42 Recitative: O thou bright sun! (Anna) 0:33 ⁄ 0 Recitative: Your Pardon, from a Deed § Chorus: O Baal, Monarch of the Skies! (Ninevites) 0 Recitative: Your Pardon (Tobias) 0:26 Air: With darkness Deep, as is my woe (Anna) 2:38 So just humane (Tobias) J.C. Smith Deborah: O Baal, Monarch of the skies ! Air: Boistrous Winds and Billows rolling 7:40 ! Air: Boistrous Winds and Billows rolling ¶ Ritornello: Il Trionfo del Tempo e della Verità: Scene 5: Tobias and Azarias Faramondo: Combattuta da due venti Ritornello. Coro: O Tempo, padre del dolor (JCM) (Tobias) ¤ Sinfonia 0:21 @ Chorus: Tyrants may a while presume (Israelites) • Recitative: Pain’d as I am with one dark @ Chorus: Tyrants may a while presume 2:51 ‹ Recitative: What caution is too great 0:52 Esther: Tyrants may a while presume constant night (Tobit & Anna) J.C. Smith Scene 4: Sarah and Raguel (Tobit, Azarias) # ª Sinfonia: Poro: Sinfonia (JCM) Air: Thy pleasing Face, no more shall I, # Sinfonia 0:49 $ Accompagnato: Ah, Wretched Sarah! my Son, behold (Anna) $ Whither shall I go? (Sarah) J.C. Smith Ariodante: Il mio crudel martiro Accompagnato: Ah, Wretched Sarah! (Sarah) 1:18 % Air: Paid be my Adoration (Sarah) º Recitative: O thou bright sun! (Anna) % Air: Paid be my Adoration (Sarah) 2:36 Sosarme: Rendi ’l sereno al ciglio, madre Theodora: O thou bright sun! ^ Recitative: Be comforted, my Daughter 0:38 ^ Recitative: Be comforted, my Daughter, ⁄ Air : With darkness Deep, as is my woe (Anna) (Raguel) God is just (Raguel) J.C. Smith Theodora: With darkness deep & Air: The Lord Sends his Thunders (Raguel) 3:11 & Air: The Lord Sends his Thunders (Raguel) ¤ Sinfonia: Poro: Sinfonia (JCM) * Chorus: All Pow’r in Heav’n above 2:51 Athalia: Ah, canst thou but prove me ‹ Recitative: What caution is too great for or Earth beneath Mortal Man (Tobias & Azarias) J.C. Smith

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CD 2 80:00 The Junge Kantorei The Junge Kantorei was established in 1965 by Joachim Carlos Martini for the Evangelical Church of Hess and Part 2 (cont.) Part 3 Nassau. The choir has since then won a reputation for its many performances of music from the Baroque to the 1 Air: Thou, God most high (Azarias) 5:00 Scene 1: Tobit and Chorus of Israelites contemporary and has enjoyed a happy collaboration with the Frankfurt Baroque Orchestra. The choir schedule has 2 Duet: Cease thy Anguish (Azarias, Tobias) 5:43 @ Sinfonia 0:44 brought regular participation in festivals of major regional importance, notably the Whit celebrations at Kloster 3 Chorus: The Clouded Scene begins to clear 3:49 # Accompagnato: Still am I persecuted (Tobit) 0:37 Eberbach im Rheingau and in the church of St Peter in Heidelberg. For its work the choir has depended on the support of friends, patrons and sponsors and the present recording is the result of the support of the Lafarge Braas $ Scene 6: Sarah and Raguel Air: Cease your Pride, deluded mortals 2:20 GmbH in Oberursel, to which the Junge Kantorei wishes to express its gratitude. 4 Sinfonia 3:09 (Tobit) 5 Recitative: How happy, Daughter 0:56 % Chorus: Tremble, Guilt, for Thou Shalt find 2:42 Joachim Carlos Martini (Raguel, Sarah) Scene 2: Tobit and Anna Joachim Carlos Martini was born in Valdivia, in Chile, to German parents, and in 1968, with the youth pastor of the 6 Evangelical Church in Hess and Nassau, Fritz Eitel, set up the Junge Kantorei, to the direction of which he has for Air: To nobler Joys aspiring (Sarah) 4:54 ^ Sinfonia 1:40 some years chiefly devoted himself. At the same time he conducts the Frankfurt Baroque Orchestra, established Scene 7: Tobias and Azarias & Recitative: Hail, Tobit! (Raphael, Tobit) 0:18 together with friends, an ensemble that specialises in historical performance practice, bringing together for this 7 Recitative: O Azarias, I must freely own 0:40 * Accompagnato: Henceforth through 0:32 purpose musicians from all over Europe. Both organizations have concentrated attention on the oratorios of Handel, (Tobias, Azarias) all the changing Scenes of Life (Anna) with comprehensive performances of this repertoire. Joachim Martini has also, through the establishment of a ( Air: My Son, how happy in this thy 4:03 Frankfurt Archive on musical life under National Socialism, conducted research into Jewish musicians in the Third Scene 8: Raguel, Sarah, Tobias, Azarias Reich with publications that include Music in Auschwitz and Music as a Form of Spiritual Resistance, Jewish and Chorus of Israelites Sweet Return (Anna) ) Musicians from 1933 to 1945. 8 Recitative: The gratefull Tribute of our thanks0:20 Chorus: Let none Despair 3:29 (Raguel) Scene 3: Tobit, Anna, Tobias, Raphael, Raguel, 9 Air: Let Songs of varied measure (Raguel) 4:26 Sarah and Chorus of Israelites 0 Chorus: Now Love, that everlasting Joy 2:28 ¡ Accompagnato and Recitative: 1:25 For information on the recordings of the Junge Kantorei see www.junge-kantorei.de ! Chorus: Happy, happy shall they be 3:14 Blest be the God of Heav’n (Tobit, Raguel) ™ Air: May true Joy (Raguel) 4:06 £ Terzetto: More chearfull appearing 5:03 (Anna, Tobias, Sarah) ¢ Air: Watchful angels (Sarah) 1:32 ∞ Recitative: O King of Kings (Sarah) 0:29 § Air: Allelujah (Sarah) 3:21 ¶ Chorus: Swift our numbers 2:39 • Recitative: ’Tis well (Raphael) 0:21 ª Accompagnato: O Nineveh! (Raphael) 1:25 º Air: In Jehovah’s awful sight (Raphael) 2:02 ⁄ Symphony 2:38 ¤ Recitative: Saw ye the radiant Streams 0:39 of Light (Tobit) ‹ Chorus and Solo: 3:17 Ye servants of th’eternal King

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Barockorchester Frankfurt George Frideric Handel 1685–1759): Tobit The Barockorchester Frankfurt was established in 1986 by Joachim Martini and fellow musicians, in conjunction, Compiled from works of Handel by John Christopher Smith (1712–1795) in particular, with the work of the Junge Kantorei, and has joined in performances throughout Germany and abroad, notably in Paris, London, Oxford and Amsterdam. At the heart of the repertoire are the oratorios of Handel, although Georg Friedrich Händel, later more generally known oratorios appealed to English Protestant susceptibilities, the orchestra also extends its activities to the classical and early romantic periods, in its special attention to the under the English forms of name that he assumed in providing a winning synthesis of religion and principles of early music performance practice. London, George Frideric Handel, was born in Halle in entertainment, and offering no offence to those who had 1685, the son of a successful barber-surgeon and his much found operatic conventions ridiculous in a city with strong younger, second wife. His father opposed his son’s early pre-existent dramatic traditions. Handel’s first English Violin 1 Viola Oboe Trumpet musical ambitions and after his father’s death Handel duly oratorio, in 1732, was Esther, with a libretto based on Judith Freise Dymitr Olszewski Eduard Wesley Sebastian Schärr entered the University in Halle in 1702 as a student of Racine, followed, in 1733, by the biblical Deborah in Elin Eriksson Werner Saller Jasu Moisio Peter Scheerer law, as his father had insisted. He was able to seize the March and in July Athalia, with a libretto by Samuel Rachel Harris Marinette Troost chance of employment as organist at the Calvinist Humphreys, his earlier collaborator, derived from Racine Seija Teeuwen Bassoon Timpani Cathedral the following month, holding the position for a and biblical sources. The next English oratorio relying on Violoncello Trudy van der Wulp Eckhard Leue year, until his departure for Hamburg, to work there at the biblical sources was Saul, first performed at the King’s Violin 2 Frank Wakelkamp Kate Walpole opera, at first as a violinist and then as harpsichordist and Theatre in London on 16th January 1739 and revived on Eva Scheytt Lute composer, contributing in the latter capacity to the Italian a number of subsequent occasions. Jen Ping Chien Viola da gamba Horn Hubert Hoffmann operatic repertoire of the house. At the invitation of the During the following years Handel continued to Dorothea Vogel Freek Borstlap Elke Schulze-Höckelmann son of the Medici Grand Duke of Tuscany, he travelled, develop the form of the oratorio, chiefly on biblical Katja Donner Jennifer McLeod Cembalo in 1706, to Italy, where he won considerable success subjects but with an occasional excursion into the Double Bass Christoph Anselm Noll during the next four years. Connections he had made in mythological. These works, with their Italianate melodies, Jacques van der Meer Venice, brought appointment in 1710 as Kapellmeister to strong choral writing and demonstrable dramatic sense, Cembalo / Organ the Elector of Hanover. From here he was granted ensured their composer’s continued popularity and Rien Voskuilen immediate leave to fulfil a commission in London. dominance, particularly, after his death, with the wider Handel’s first opera for London was Rinaldo, with development of choral singing in the nineteenth century. which he won general acclaim, and after little over a year Handel’s most famous oratorio, Messiah, was first in Hanover, he returned to England. It was here that he performed in 1742, his last, Jephtha, ten years later. now established himself as a composer of Italian opera While Messiah may be exceptional in its ambitious and of other forms of vocal and instrumental music, for subject, most of his oratorios treat narratives derived from which there was an eager audience, gradually achieving a the Old Testament, well characterized by the composer’s dominant position in the musical life of the English own descriptive title of them as sacred dramas. capital. His involvement with Italian opera as a composer Handel died in London in April 1759 and was buried, and organizer continued, eventually under the royal as he had requested, in Westminster Abbey, to be patronage of George I, Elector of Hanover, who had commemorated there three years later by an imaginative succeeded to the English throne in 1715, on the death of and slightly improbable monument by Louis François Queen Anne, but by 1733, with the establishment of a Roubiliac, who had provided, thirty years before, a statue rival opera company under the patronage of the Prince of of the composer, in his night-cap and slippers, as Apollo, Wales, there were obvious commercial difficulties. for the pleasure gardens at Vauxhall, an indication of his While Handel’s work in Italian opera continued, with popular reputation. His funeral drew a crowd of some a final opera to be staged in 1741, he increasingly turned three thousand mourners, while posthumous Handel his attention to a new English form, that of the oratorio. celebrations could muster a similar audience in the This had certain very practical advantages, in language, Abbey, with a proportionate number of performers. lack of the need for expensive spectacle and the increasing employment of native singers. The content of 8.570113-14 12 5 8.570113-14 570113-14bk Handel US 12/12/06 3:49 pm Page 6

Tobit and John Christopher Smith Alison Browner The mezzo-soprano Alison Browner was born in Dublin and studied musicology there at Trinity College at the same The performances dates of the oratorio Tobit are now, with the rest of the Royal Music Library, held by time as studies in violin and singing at the College of Music. A DAAD scholarship then took her to the Hamburg unknown, but the work has been conjecturally dated to the British Library, while the conducting scores were Musikhochschule and, two years later her diploma in Lieder and concert performance. Her career began with the 1764, when Smith’s other Handelian pasticcio Nabal left to the younger Smith’s stepdaughter, eventually to opera studio of the Bavarian State Opera in Munich, with study under Hans Hotter, and Darmstadt State Theatre. was first given. Pencil markings in the surviving score be auctioned in 1851. From 1987 she was a member of the Mannheim National Theatre, where she won success in the Strauss rôles of the indicate that there was at least one performance. The The younger John Christopher Smith, born in Composer and Octavian, as well as in the principal mezzo rôles in Mozart and Rossini. In 1990 she made her début work re-appeared in 1856 in the catalogue of the Bristol Ansbach in 1712, had his schooling in London. At the at Covent Garden as Angelina in La Cenerentola, with successful appearances also at La Monnaie in Brussels, the bookseller Thomas Kerslake, to be bought, among other age of thirteen he had keyboard lessons from Handel and Flemish Opera in Antwerp and Ghent, Barcelona, Paris, Dublin, Zürich, Stuttgart, Berlin and, not least, at the items that had belonged to John Christopher Smith the studied composition with Thomas Roseingrave and Salzburg Festival under John Elliot Gardiner. Her career has also brought Lieder and concert performances with younger, by Victor Schoelcher. The collection included Johann Christoph Pepusch, winning an early reputation distinguished colleagues, with radio, television, and recording engagements. Handel’s conducting scores, which Schoelcher sold, as a music teacher and, to a lesser extent, as a composer. together with some of Smith’s own work, to the city of In the 1750s he helped Handel in the performance of Hamburg, keeping some of Smith’s compositions for oratorios, particularly after the latter’s blindness, and Knut Schoch himself. These last were included in Schoelcher’s gift to served as unpaid organist and choirmaster at the The German tenor Knut Schoch studied singing in Hamburg with Wilfried Jochens and Alan Speer, completing his the Paris Conservatoire, and came into the possession of Foundling Hospital, where he conducted regular annual studies by attending a series of master-classes. With a repertory that ranges from the medieval to the contemporary the Bibliothèque Nationale in 1964. Included were performances of Messiah for a number of years after and includes oratorio, chamber music, Lieder and Baroque and Classical opera, he specialises particularly in the manuscripts of four oratorios by Smith, Redemption, Handel’s death. He also collaborated with David Garrick historical performance practice of music written before 1800, notably the oratorios of Handel and Bach’s Passions. Tobit, Gideon and Nabal, subsequently rediscovered and in three operas. From 1762 he was Master of Music to He is much in demand as a soloist both at home and abroad and regularly appears at leading festivals including the brought to wider attention by the scholar Richard G. the Princess of Wales, serving in this capacity until the Fête d’Automne in Paris, the Göttingen Händel Festival and the Schwetzingen, Schleswig-Holstein and Vienna King (qv. Music and Letters, Vol.79, No.2, 1998). latter’s death in 1772. Two years later he retired to Bath, Festivals. Radio and television recordings as well as CDs reflect the breadth of his activities. He has worked with Johann Christoph Schmidt the elder was born in where he died in 1795. many well-known ensembles, including the Freiburg Baroque Orchestra, Musica Fiata of Cologne, the Dutch Bach Kitzingen in 1683, the son of a respected tradesman and Smith enjoyed a significant reputation in the Society and the Drottningholm Baroque Ensemble, and has appeared with conductors of the highest distinction. town councillor, and may, perhaps, have met Handel at musical life of London, but preferred the society of Among the awards that Knut Schoch has received are the 1995 Masefield Grant from F.V.S. Society and first prize the University in Halle, during the latter’s brief period as leading figures in other professions. His first wife was at the 1999 International Musica Antiqua Competition in Bruges. In 1993 he was appointed visiting professor of a student there. At all events, with the death of his father the sister of the future Lord Longford, and after her historical performance practice at the Hamburg Conservatory, and in 1999 became professor at the Hamburg in 1704 Schmidt moved the following year to death and those of his own children by her, he married Musikhochschule. Nuremberg and shortly afterwards to Ansbach, where he the widow of the Royal Physician, Dr Foxe, assuming married, and after the death of his wife in childbirth in responsibility for her children. His connection with Stephan MacLeod 1708 took a second wife, the mother of his four children. Handel was an important one and his possession of The bass-baritone Stephan MacLeod was born in Geneva and studied piano and violin at the Geneva Conservatoire, In 1716 he accepted an invitation from Handel, who was Handel’s conducting scores and autographs put him in subsequently training as a singer with Ursula Buckel and then at the Cologne Musikhochschule under Kurt Moll. In visiting Ansbach, to work with him in London, later to an unrivalled position when it came to continuing the 1990 he embarked on a professional career, with an award of the Bourses Bonardel, giving Lieder recitals in Geneva, be joined there by his wife and three surviving children. regular annual series of oratorios that had been initiated Cologne, Bonn, Paris and Venice, and in 1994 received further awards from the Zurich Ernst Göhner Foundation His first son and second child, given the same name as in Handel’s lifetime. From 1760 until his retirement he and the Hamburg F.V.S. He has since then appeared in a wide repertoire of opera and oratorio under conductors of his father, to the confusion of later writers, also followed collaborated with the blind organist and composer John the greatest distinction, with performances throughout Europe, in the United States and in Japan and Israel, in his father in changing his name to the English John Stanley in the provision of oratorios performed in addition to a number of recordings. Christopher Smith. London on Fridays in Lent. He had had his first attempt John Christopher Smith the elder served Handel as a at the genre with his David’s Lamentations over Saul principal copyist and assistant until the composer’s and Jonathan in 1740, followed twenty years later by death in 1759, and thereupon received as a bequest Paradise Lost, based on Milton, but Handel remained Handel’s manuscripts, a collection that passed to his son the overwhelmingly popular composer in the form. after his own death in 1763. 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Maya Boog composers, had, by the early eighteenth century, a sound done much to help his compatriots, and had been able to The Swiss soprano Maya Boog studied singing and church music in Lucerne, completing her training at the Cologne commercial purpose. Employed particularly in opera, it lend ten talents of silver to a fellow-Jew in Media. On Musikhochschule in 1993, the winner of various awards, notably in the Barcelona Francisco Vinas Singing came to offer an equally useful vehicle for new-minted the death of the King, Tobias finds himself persecuted Competition. She made her début at the Municipal Theatre in Lucerne and also partcipated in the Zurich oratorios. Smith had a stock of Handelian material on by his successor, Sennacherib, not least for his piety in International Opera Studio. Her career has brought her engagements particularly in Baroque and Mozart operas in which to draw, and had offered his first oratorio derived burying the dead. Reproached by his wife Anna, amid Darmstadt, at the Komische Oper in Berlin, in Mannheim, St Gallen and Drottningholm, as well as with the Vienna from Handel with his Rebecca on 16th March 1764. The the faithlessness of other Jews, Tobias sufferes greatly, Volksoper and in the Salzburg Mozart Week. In 2000 she took the title rôle in Rimsky-Korsakov’s The Golden same occasion brought the Handelian pastiche Nabal, finally afflicted in his need and poverty by blindness. He Cockerel at the Bregenz Festival, the following year making her début as Ilia in La clemenza di Tito and joining the with a libretto by Thomas Morell, who had provided sends his only son, also called Tobias, to collect the Basel Opera, where she has been seen as Pamina, Nanetta, Mélisande and Semele, among other rôles. She has Handel with libretti for Judas Maccabaeus, Alexander money lent in Media, and young Tobias finds a appeared in oratorio and in Lieder recitals throughout Europe and in 2000 made her American début at Ann Arbor Balus, Theodora and Jephtha, and probably also for companion to travel with him, Azarias, in fact the angel in Bach’s St Matthew Passion. Joshua. For Handel’s English version of an earlier work Raphael in disguise. During the course of their journey under the new title of The Triumph of Time and Truth he Tobias is attacked by a great fish, while bathing in the Linda Perillo had written a text that fitted the existing music, and for River Tigris, but is rescued by Azarias, who tells him to The Canadian soprano Linda Perillo studied in her native country and in England and France. She has appeared as Nabal he performed the same task, as he was to do for keep the liver and the gall of the fish; they eat the rest of a soloist with many of the leading Canadian symphony orchestras, as well as with Tafelmusik and the San Francisco Smith’s Handelian Tobit and for Gideon, fitting the it, salting some down for the rest of their journey. In Philharmonia Baroque Orchestra. She has collaborated in concerts and recordings with ensembles such as La Grande words to the music. The surviving manuscript word- Media they are entertained by a kinsman, Raguel, whose Ecurie, La Chapelle Royale and the English Concert, and has regularly appeared as a guest with the Gabrieli book of Part III of Tobit gives some indication of the daughter, Sarah has been accused of being a murderess, Consort, the Israel Camerata and the Vienna Academy. Her recordings range from works by Mondonville and care Morell took in showing Smith how the text was to seven husbands of hers having died on their wedding Rigatti to the contemporary Canadian. Her operatic rôles have included Galatea in Handel’s Acis and Galatea, Cupid be fitted to the music. night, through the intervention of a devil. Tobias, in Purcell’s King Arthur with The Sixteen in Lisbon and Seleuce in Handel’s Tolomeo. Thomas Morell, described by Winton Dean as ‘of a however, marries Sarah and exorcises the demon, on the convivial and improvident disposition’, was an old advice of Azarias, by burning the liver of the fish, and Barbara Hannigan Etonian and a Fellow of King’s College, Cambridge, abstaining from intercourse with his wife on the first The soprano Barbara Hannigan took her Bachelor and Master of Music degrees at the University of Toronto, where through which he held the living of Turnham Green (a days of their marriage. He sets out home again, with his she studied with Mary Morrison, and completed her training at the Royal Conservatory in The Hague, Orford Arts living in gift of the college). His association with Handel wife and the flocks and herds given him by Raguel, and Centre, the Steans Institute Ravinia and the Banff Centre for the Arts. Her present operatic rôles include Lucia in had come about in 1746 on the recommendation of the reaching his father’s house, cures the old man of his Britten’s The Rape of Lucretia, Despina, the title rôle in The Cunning Little Vixen and Amore in Glucks’s Orfeo ed Prince of Wales, although his academic, literary and blindness by applying fish-gall to his eyes. All ends Euridice. She made her début at the Lincoln Center in Louis Andriessen and Peter Greenaway’s opera Writing to musical interests were not matched by any great skill as happily, with the young Tobias looking after his parents, Vermeer. Her performance repertoire has also included Ligeti’s Mysteries of the Macabre, and oratorio and Mass a writer. The story of Tobit is taken from the apocryphal who enjoy the usual biblical longevity, until their death settings by Handel, Bach and Haydn. book of that name, from the Greek Septuagint and part and then performing the same service for Raguel and his of the Bible accepted by Catholic and largely by wife, while Nineveh is destroyed. It will be seen that the Orthodox Christians, but not part of the Protestant or oratorio expects some previous knowledge of the story, Jewish biblical canon. as a number of elements in the original narrative are The Book of Tobias tells of the pious and patient omitted. Tobias the elder (Tobit), whose steadfastness had earned the favour of King Salmanasar of Nineveh, where the Jews had been carried off into captivity. Tobias had Keith Anderson

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Synopsis faith in the Almighty. ) The people remark on the tells of the destruction of Nineveh, a fate further opportune divine intervention. ¡ Tobit’s sight is described only in the surviving word-book. º Raphael CD 1 their god Baal. ¶ The scene closes with a Ritornello. • restored. He greets Raguel. ™ Raguel responds. £ In a caps this with a declaration of the divine view of tyrants, Tobit feels pain at the boasts of the infidels, but his wife terzetto Anna and Tobias express their happiness, while after which he leaves. ⁄ A Symphony is heard. ¤ Tobit Part 1 Anna tells him that he should conform to the customs Sarah has misgivings. ¢ She seeks the care of the realises the identity of his son’s companion, not Azarias, 1 The oratorio starts with an Overture, replete with and rites of Nineveh. ª She may now never see her son angels, ∞ and praises the Lord, § following her prayer as they had thought, but an angel, Raphael. ‹ The slow introduction, fugal Allegro and a final Menuet. 2 Tobias again. º She expresses her sorrow, ⁄ and the with an Alleluia. ¶ The people call for blessings on the people join in praise of the Lord. In a recitative a Ninevite praises the King. 3 The people following air claims she would prefer death. couple. • Raphael wants them to make their escape with of Nineveh join in praise of Baal and of the King. 4 A ¤ A Sinfonia marks a change of scene. ‹ Tobias is Raguel to Ecbatana. ª In an accompanied recitative he Keith Anderson scene follows with Tobit and the Israelites. In a grateful to Azarias, who has saved him from a recitative Tobit tells of the murder of his friend and monstrous fish, when he bathed in the Tigris. Azarias kinsman Achior, after a meal at Tobit’s house, and how claims that the rescue of Tobias was the work of he has buried him. 5 Tobit laments the circumstances in Providence. which the Jews must live, joined in his prayers by the Israelites. 6 Tobit’s son, Tobias, claims that the Lord CD 2 has heard his prayer. 7 In an air he praises the mercy of God. 8 His mother, Anna, urges caution on her husband Part 2 (cont.) Tobit, who should not provoke King Sennacherib by 1 Azarias praises God. 2 In the following duet he burying the dead, but Tobit claims that this was his pious comforts Tobias, who joins him in his trust in God. duty. 9 In a duet Anna and Tobit dispute the rightness 3 The voices of the faithful people bring further of his action. 0 In the following recitative Tobit can see comfort to his heart. 4 A Sinfonia is heard. 5 Raguel no danger in what he has done. ! Tobias, in an air, sings tells Sarah of his happiness in their guests, Azarias and of the greatness of God. @ The Israelites follow, with their kinsman Tobias. Sarah has been captivated by one their faith in the power of God to defend what is right. of the guests. 6 She is resigned, however, to her fate. 7 # A Sinfonia marks a change of scene. $ In the Tobias too has fallen in love with Sarah, distracted from house of Raguel in Media his daughter Sarah laments his journey. Azarias suggests they join their host in the her fate, regarded as a murderess, her innocence only banquet he offers. 8 Raguel thanks Heaven for their known to God. % She prays to God to turn the hearts of food and welcomes again his guests. 9 He celebrates the sinful people among whom she lives. ^ Raguel tries the happy pair, 0 echoed by the people, ! who tell of to comfort her, & going on, in an air, to praise the justice the couple’s future happiness, when love is crowned by of God. * Part 1 ends with a chorus in praise of the virtue, a sentiment that ends the second part. power of Heaven. Part 3 Part 2 @ Part 3 opens with a Sinfonia. # Meanwhile Tobit ( Part 2 starts with a Sinfonia. ) Tobit laments his suffers persecution among the infidel Ninevites. $ He sudden blindness. ¡ Nevertheless he praises Jehovah. prays that his enemies may turn to God. % He is ™ He is joined by Tobias and his friend Azarias, who is supported by his people. ^ A Sinfonia is heard. & Tobit welcomed by Tobit and charged with accompanying and Anna are joined by Tobias, accompanied home by Tobias into Media. £ Azarias declares his faith in God, Azarias (Raphael). In the surviving word-book Raphael ¢ and the people add their blessing for the journey the goes on to describe the approach of Sarah, her father and two young men will undertake. ∞ In a recitative a her flocks and herds. * Anna, in an accompanied Ninevite mocks Tobit, whose piety has been rewarded recitative, praises God for the safe return of her son. by blindness. § The Ninevites follow with praise of ( In an air she expresses her happiness and renewed 8.570113-14 8 9 8.570113-14 570113-14bk Handel US 12/12/06 3:49 pm Page 8

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Sources CD 1 76:22

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George Frideric CD 2

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HANDEL Tobit (Oratorio in Three Parts)

Boog • Perillo Hannigan • Browner Schoch • MacLeod

Junge Kantorei Frankfurt Baroque Orchestra Joachim Carlos Martini

2 CDs 8.570113-14 16 570113-14rear Handel US 12/12/06 12:56 pm Page 1

CMYK NAXOS NAXOS Compiled by John Christopher Smith from Handel’s operas, oratorios and other works, the oratorio Tobit, sometimes described as a pastiche, provided a winning synthesis of religion and entertainment at a time when newly-minted oratorios, drawing chiefly on biblical subjects were in vogue. The story of the pious and steadfast Tobit (Tobias the elder) is taken from the apocryphal Book of Tobias, in which he is persecuted for burying 8.570113-14 HANDEL: HANDEL: the dead. Patient in adversity, Tobit is finally restored to health and prosperity, while his son, Tobias, is safely married to Sarah. DDD George Frideric Playing Time HANDEL 2:36:22 Tobit Tobit (1685–1759) Tobit Anna ...... Maya Boog, Soprano Sarah ...... Linda Perillo, Soprano Azarias / Raphael ...... Barbara Hannigan, Soprano Tobias ...... Alison Browner, Mezzo-Soprano Tobit ...... Knut Schoch, Tenor International Ltd Made inCanada www.naxos.com/libretti/570113.htm Sung textscanbeaccessedat: Booklet notesandsynopsisinEnglish www.naxos.com

Raguel ...... Stephan MacLeod, Bass 2001 & Junge Kantorei • Frankfurt Baroque Orchestra

Joachim Carlos Martini 2007 NaxosRights CD 1 76:22 CD 2 80:00 1-* Part I 43:32 1-! Part II (cont.) 34:39 (-‹ Part II 32:49 @-‹ Part III 45:21 8.570113-14 8.570113-14 Recorded live at Kloster Eberbach, Rheingau, Germany, on 3rd June, 2001 • Editor: Joachim Carlos Martini This recording has been generously supported by Lafarge Braas GmbH, Oberursel Booklet Notes: Keith Anderson • Please see the booklet for a detailed track list Cover Picture: The Marriage of Tobias and Sarah, 1733 by Pierre Parrocel (1670–1739) (Musée des Beaux-Arts, Marseille, France / Bridgeman Art Library)