Handel: Acis and Galatea
Handel's sunny pastorale ("oratorio" seems too imposing a word)Acis and Galateais just the thing to cheer you up if you're feeling gloomy, its bittersweet ending notwithstanding.  It gets performed and recorded these days in several different versions, ranging from Handel'schamber-scaled 1718 original(using only five soloists, who also make up the chorus) to aGerman-language arrangement by Mozartwith four-part choir and orchestra.  William Christie's version follows the one that Handel used for a 1739 revival of the piece, in which he gave the sidekick role of Damon (originally for tenor) to a boy soprano and tacked onto Acis and Galatea's duet "Happy we" a choral reprise.  Whatever the variants used, this is by far the best rendition ofAcisI've ever encountered.  The gentle nymph Galatea is the perfect role for Sophie Daneman's light soprano; Paul Agnew's gorgeous tenor is just as well suited to Acis--ardent and brave, yet light enough that you can believe the giant Polyphemus could crush him with a rock.  Because he's the villain, Polyphemus is one of the few characters at whose stupidity one can laugh without feeling mean-spirited; the only problem with Alan Ewing's beautifully sung reading is that it's not very funny--it's perhaps too musically nuanced for a character that dumb. As Damon, Patricia Petibon sounds a bit ripe for a shepherd boy, but she's superb, and her embellishments are ingenious (if not particularly spontaneous); tenor Joseph Cornwell as Coridon gives a marvelous (and surprisingly robust) rendition of "Would you gain the tender creature." Conductor William Christie has chosen well--not just his singers but also his tempi: for example, "Must I my Acis still bemoan" is much slower than usual, and much more convincingly sad.  We think of Christie as a French baroque specialist, but he shows a real feeling for Handel here.--Matthew Westphal