Muzio Scevola was first performed in London on April 15th, 1721 during the second season of the recently formed Royal Academy of Music. Among its cast were the alto castrato Senesino in the title-role, the soprano Margherita Durastanti whom Handel had heard in Dresden and engaged for the Academy, and the English soprano Anastasia Robinson who sang in almost all the Academy operas between 1721 and 1724. Muzio Scevola is a composite work rather than a pasticcio with contributions from three of the Royal Academy's composers: Handel, who had opened the Academy's first season the previous year with Radamisto, Giovanni Bononcini who had lately arrived in London and who had opened the second season with his Astarto, and a comparative nonentity, Filippo Amadei who, nevertheless may have been a favourite of the aristocratic backers of the Academy and who was, furthermore, a fine cellist. Each of the composers was invited by the Academy's directors to contribute an overture and a single act. Amadei was apportioned Act 1, Bononcini Act 2, and Handel the third and final act. The text of Muzio Scevola is the work of the Academy's Italian secretary and librettist, Paolo Rolli, who was to some extent indebted to earlier treatment of the subject. Though not perhaps intended foremost as a competitive entertainment it was reckoned at the time that Handel comfortably triumphed over the other two.
Rudolph Palmer does not give us the entire opera but does perform Handel's Act 3, more or less complete. That is to say he follows the content of Chrysander's score without omission. Amadei's contribution is excluded entirely and Bononcini's consists of morceaux favoris, so to speak, not only from the 1721 score but also from an earlier setting of the opera which the composer had made for Vienna in 1710 and for which he used a text by Silvio Stampiglia. These last mentioned numbers were chosen for the present recording solely on grounds of merit since they do not appear in Bononcini's London setting.
Reflecting the composite nature of the work the three acts are to some extent autonomous each focusing on a valorous episode in ancient Roman history as recorded by Livy. The libretto is not perhaps, without political overtones with George I being identified with the Etruscan King Porsenna and the aristocracy with the protectors of Roman freedom; but, it is Act 3 which chiefly concerns us here. In it Porsenna declares his love to Clelia who, unknown to him, is betrothed to Muzio Scevola. Clelia turns him down, pleading a secret betrothal. Porsenna turns to Muzio for help in winning the hand of Clelia. Muzio, out of loyalty to king and country, agrees to stand down in favour of his rival. Clelia is disgusted by his apparent weakness and indifference determines to escape from them both and plunges into the Tiber and to awaiting boats. Porsenna is humiliated and sends Muzio on ahead of him to Rome to recapture Clelia and others who escaped with her. In Rome Porsenna is confronted with the truth of Clelia's secret betrothal and magnanimously joins her hand with that of Muzio. And to complete the happy ending Porsenna agrees to let his own daughter and heir to the throne, Irene, marry Orazio, the man of her choice, instead of Tarquinio, a villain to whom he had promised her in Act 1.
Handel's score, it hardly need be said, far outshines Rolli's undistinguished text, and its excellence is apparent right from the start with a fine G minor overture in the French manner with lively independent oboe parts in its faster section. The mainly strong cast is similar to that which Palmer assembled for his recent recording of Handel's Siroe (5/92). D'Anna Fortunato gives a clear and secure account of the title-role though her characterization is neither as imaginative nor as well-defined as Julianne Baird. Baird brings a coquettish sparkle to Clelia's role and her ornamentation is well thought out and lightly executed. Both singers have pleasing voices and agile techniques and if I prefer Baird's interpretation then I feel more at ease with Fortunato's more steadily produced vocal timbre, though regret her tendency however small, to scoop up to notes rather than land on them. Baird's tightly controlled but almost ever present vibrato contributes a nervous, brittle dimension to her singing. John Ostendorf's Porsenna is authoritative but a shade hollow-sounding and blustery. These are admittedly facets of Porsenna's character but I feel there should have been more tonal focus to the singing. The remaining parts are variably performed. Jennifer Lane as Irene sounds a little bland and is not always fully in control of her vocalise, as for example in her aria ''Con lui volate''. Erie Mills (Orazio) is disappointing. She has one of the loveliest arias in the work, the 12/8, A major ''Come, se ti vedro'', but spoils it with a persistent and intrusive vibrato which sits uncomfortably beside the singing of her fellow cast members. The two duets for the respective pairs of lovers come over pretty well and are captivating pieces. Occasionally I found the orchestral accompaniment a little stolid though the spirit was lightened by effective harpsichord continuo realizations. Andrea Matthews as Irene's companion, Fidalma, gives a sprightly account of her one aria ''Non ti Fidar'' with its engaging and characteristically Handelian cross-rhythms. Her voice has quite a pleasant-sounding edge to it and she has a good ear for tuning. The orchestra gives her admirably responsive support in this number making it one of the most successful in the recording.
In summary, here is a valuable addition to the Handel opera canon on disc. Singing and playing while not in every instance ideal, bring to life a musically rewarding score with affection and a feeling for style. The Brewer Baroque Chamber Orchestra is a period instrument ensemble and not a modern one as I carelessly remarked in my May review of Siroe. My apologies to the conductor have already been made but I now avail myself of this opportunity to apologize to all others concerned for a fatuous error. The recording is a shade dry but clear and allowing for detail. Full notes and texts with translations are included.'