An expression of impending doom, “The writing is on the wall” has long seeped into common English usage. The ripping biblical yarn from which it derives concerns the Babylonian king Belshazzar who, at a riotous banquet, drinks from the sacred vessels plundered from the temple in Jerusalem by his forebears. A mysterious hand then appears and writes an indecipherable message which only the prophet Daniel, leader of the captive Jews, can elucidate. No surprise, the king is done for.
Last century, both Walton and Sibelius were inspired by the tale, but the grandest setting of them all is undoubtedly Handel’s 1745 oratorio. This December 2012 recording by William Christie and Les Arts Florissants (which originally launched the ensemble’s own label) is now reissued on Harmonia Mundi and has lost nothing of its superb theatricality in the interim.
Luxury casting throughout makes this account particularly attractive. Tenor Allan Clayton sings the title role, joined by countertenor Iestyn Davies as Daniel and veteran Handel soprano Rosemary Joshua, as the king’s virtuous mother Nitocris. Australian mezzo-soprano Caitlin Hulcup is the Persian prince Cyrus and New Zealand bass Jonathan Lemalu plays the Assyrian nobleman Gobrias. All of these principals bring top-rate vocal technique and profound characterisation to their roles.
Librettist Charles Jennens (who also assembled the texts for Messiah) expanded the biblical story from other historical sources to provide an imposing three-act scenario with fully fleshed-out back stories to frame the banquet scene in Act II. This allowed Handel, always a man of the theatre, tremendous scope in musical characterisation. Dramatic action is tightly maintained by the lively succession of styles and moods.
Act I, Scene 5 is a good sampler of this musical variety. Clayton’s astounding agility dazzles in the first aria Let festal joy triumphant reign, while Nitocris’s derision of her son’s impiety (The leafy honours of the field) shows Joshua’s huge expressive range. The sober chorus of Jews (By slow degrees) is a reminder that the choir is a key protagonist in the drama; Handel at other times supplying festive music for the Babylonians and triumphant martial writing for the conquering Persians. Clarity and conviction hallmark the choral work throughout.
Amongst many other memorable moments, there is no doubt Clayton revels in acting the bibulous king. When Daniel reveals the meaning of the writing on the wall, Handel ratchets up the suspense as only an operatic master could. Act III contains a tender duet between Nitocris and Cyrus (Great victor at your feet I bow) as well as a gem of an aria for Daniel (Can the black Æthiop change his skin?).
From the very beginning of the overture the instrumental playing is refreshingly crisp, as it is in the “martial symphony” in which Belshazzar is slain. Christie’s direction also ensures that both players and singers bring nuanced rapport to the constantly changing drama.
While academics may cavil about what material Christie has maintained or excised from the various versions of Belshazzar, it would be hard to imagine a better, more vividly conveyed presentation of Handel’s grandest oratorio.
Composer: Handel
Work: Belshazzar
Performer: Les Arts Florissants/William Christie
Label: Harmonia Mundi HAX 8904127.29 (3CD)
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