George Frideric Handel: Solomon HWV 67. Oratorio in three acts

Georg Friedrich Händel


Oratorio in three acts

HWV 67, 1748


Solomon (1749) is among a series of masterful oratorios which Handel composed beginning in 1749. As with other Handel oratorios, although it does not refer to the political happenings, happenings of his day, this work does have a connection to his times in that Handel pays homage to a wise and religious ruler from antiquity – and in so doing, also to the golden era of England and its king, George II. With its splendidly colorful, finely balanced instrumentation, effective choral writing and virtuoso solos, Solomon displays the complete range and variety of Handel’s expressive capabilities. Following its premiere in 1749, in which the oratorio was drastically shortened, a further performance took place six weeks prior to Handel’s death. The recording presents the complete masterpiece on 3 SACDs, without any deletions, as Handel conceived it. This sets it apart from the myriad of recordings which are either abridged or have altered the sequence of the work. Handel’s Solomon was recorded live in the Dresden Frauenkirche by the Handel scholar Nicholas McGegan, with the Winchester Cathedral Boys Choir, the Festspiel Orchester Göttingen, as well as a highly polished ensemble of soloists, including the outstanding young altus, Tim Mead, who is outstanding on this recording.


Compact Disc, 3 Ex.

12,5 x 14 cm, CD, digipac
EUR37,90 / copies

Product information


Nicholas McGegan Personal details


Winchester Cathedral Choir Personal details
FestspielOrchester Göttingen Personal details

Soloist - soprano

Dominique Labelle Personal details
Claron McFadden Personal details

Soloist - alto

Tim Mead Personal details

Soloist - tenor

Michael Slattery Personal details

Soloist - bass

Roderick Williams Personal details


Georg Friedrich Händel Personal details


Händel in der Frauenkirche Mit dem im Juni 1748 fertig gestellten Oratorium Solomon arbeitet Händel das bereits in den Oratorien Israel in Egypt, Judas Maccabäus und Joshua bewährte Konzept, den Chor als wirkungsvolle Stimme des Volkes einzusetzen, weiter aus. Somit verwundert es nicht, dass die 13 groß angelegten Chornummern zu den Höhepunkten des Werkes gehören. Händel fasziniert hier mit einer Vielzahl an unterschiedlichen Chorstilen und Satztechniken. Auf Carus erscheint jetzt eine Neueinspielung mit dem ausgewiesenen Händel-Experten Nicholas McGegan, die ebenso gelungen ist wie ihr Aufnahmeort, die Dresdner Frauenkirche.

Quelle: jpc-courier 9/07


[...] Cet ensemble de trois oratorios est vraiment une grande réussite.

Pizzicato, 6/2009


[...] This recording is magnificent, and is definitely a worthy rendering of Handel at the peak of his brilliance as an oratorio composer. All of the recordings featuring McGegan with his FestspielOrchester have proven a delight to listen to, and one hopes that more will be forthcoming

Lorin Wilkerson
Northwest Reverb, August 30, 2009