Album insights
Handel composed his most beautiful oratorios between 1739 and the following years. Some of these include Saul, Israel in Egypt, Ode for St. Cecilia's Day (1739), L’Allegro, il Penseroso ed il Moderato (1740), Messiah (1742), Samson (1743), Semele and Joseph and His Brothers (1744), Hercules, and Belshazzar in subsequent years. Surprisingly, only Joseph (and to a lesser extent Hercules) has been neglected over the years. During its initial performances in March 1744, Joseph was well-received, and Handel even made revisions to the work as was his habit, showcasing it in further performances in 1745, 1747, 1755, and 1757.
The first performance of Joseph on March 2, 1744, at Covent Garden Theatre was a remarkable success, despite challenges faced during rehearsals. The cast impressed notable figures like the Earl of Egmont and Handel enthusiast Mrs. Delany. Mrs. Delany mentioned the difficulties faced during rehearsals, highlighting Handel's occasional bad temper. Notably, despite Handel's initial concerns about the cast, Daniel Sullivan, Elizabeth Duparc, John Beard, Thomas Reinhold, Esther Young, and Samuel Champness showcased outstanding performances, with subsequent modifications made to the vocal arrangements in later revivals between 1745 and 1757, leading to changes in arias and existing compositions. Scholar Winton Dean's views on Joseph and His Brothers may stem more from the libretto than the music itself, emphasizing the theatrical and emotional prowess found throughout the composition.