|George Frideric Handel|
Tim Mead (Counter-Tenor), Clemens Heidrich (Bass), Eric Stoklossa (Tenor), Yorck Felix Speer (Bass), Ditte Andersen (Soprano), Anna Prohaska (Soprano), Maximilian Schmitt (Tenor)
Shakespearean Width Handel’s turn to the oratorio in the late 1730s was initially more due to the need to compensate for the botched project of the Italian opera in London, but the “emergency solution” ultimately proved to be very successful. “Saul”, based on a libretto by Charles Jennens, is a subject made to explore intellectual and dramatic themes such as monarchy, jealousy and the victory of true faith over external obstacles. Handel finds an almost Shakespearean range of expressive characterizations with music. As part of the series with Handel’s vocal works, CARUS presents a further recording from the Frauenkirche Dresden, which impressively demonstrates through outstanding performers such as the Dresdner Kammerchor and the Dresdner Barockorchester under Hans-Christoph Rademann that Dresden has finally been resurrected as a musical metropolis.