Handel: Sosarme Album Review – Marco Angioloni makes the case for this little-known work | classical music

pRecreated in 1732, Sosarme is somewhat dormant among Handel’s mature operas, with only Anthony Lewis’ 1954 recording in the current catalogue. That’s a shame, because it has emotional depth as well as a collection of memorable melodies. It was warmly welcomed by contemporary audiences, although the composer’s last-minute attempt to avoid a diplomatic blunder by shifting the settings from medieval Portugal to mythical Lydia did not help its reputation.

This light-hearted performance from the Opéra Royal de Versailles under conductor Marco Angioloni rehabilitates the work, even if the geometric sound and sharp tone of the strings are a little annoying. Rémy Brès-Feuillet features Hazel in the title role, originally a vehicle for the great contralto castrato Senesino, with an appropriately suave Sarah Charles as his beloved Elmira.

Angioloni doubles as a vocalist, devouring a great deal of scenery as the spiteful king of Lydia alongside fine performances from Niccolò Balducci as his rebellious son and Eleonore Pancrazzi as his hapless wife. Crowning the group as Altomaro’s double advisor is young Italian Giacomo Nani. His sonorous rendition of “Fra l’ombre e gl’orrori”, a classic case of Handel repurposing an earlier aria, reveals a voice of impressive plasticity and power.