"Giove in Argo" (Jupiter in Argos-or Arcadia) is a 271-year-old George Frideric Handel opera--with libretto by Antonio Lotti and interpolations from "Lucio Vero," an opera by Francesco Araia-given its United States premiere by the Collegiate Chorale at Avery Fisher Hall on April 28 and new to many of us. "Giove" was long considered lost, then was reconstructed and fleshed out by University of California, at Berkeley, Professor Emeritus of Music John H. Roberts, but was abbreviated by Collegiate Chorale Music Director Robert Bass for this premiere.

Robert Bass conducting - photo by Chris Lee

Bass led the Chorale, the Orchestra of St. Luke's, and six distinguished soloists in realizing this knotty tale, after Ovid, of what occurs when Roman and Egyptian gods Jupiter-tenor Rufus Müller-and Osiris, demoted to king here-baritone Wayne Tigges-prowl the land, disguised as shepherds, and disrupt the lives of the nymph Calisto-soprano Elizabeth Futral-and goddesses Diana-soprano Heidi Grant Murphy-and Isis-mezzo-soprano Kristine Jepson. Jupiter leads Calisto astray, in violation of her vow, to Diana, of chastity, and tyrannical King Licaone, Calisto's father-bass Valerian Ruminski-ends up dead. For the rest, peace and harmony finally reign.

The singers and their coloratura were excellent-the higher voices-to passable enough-the lower male voices. Bass, however, opted to shorten many of the arias, which have an A section, contrasting B section, and repetition of the A section, by omitting the repeat of the first, and sometimes the second, as well. This proved jarring when one knows the style, even if not the particular opera, as many of these solos were left unresolved. Perhaps one day we'll hear the opera in full.
The work featured a not unexpected mixture of bucolic choruses, laments, mistaken identities, seduction, jealous rage, and a mad scene. The highlight for the Chorale came at the start of Act Three, with a bouncy chorus with choral soloists, "Vive e non amar ... possibile non è" (To live without loving is not possible), followed by quieter consideration of the woods on the verge of resounding with festive rejoicing.

Futral offered a bravura, and complete, account of the most familiar aria here, "Tornami a vagheggiar" (Gaze lovingly upon me again), better known from Handel's "Alcina," and including her extensive and expert embellishment of the repeat of the A section.

Jepson delivered a dramatic mad scene, with recitative, "Svenato il genitor" (My father is dead), by Handel, and aria, "Ombra che pallida," (Shade [or ghost] that pales), by Araia.

Müller and Murphy made outstanding florid contributions as well, Müller's Jupiter taunting Tigges' Osiris with "Semplicetto, a donna credi" (Simpleton, you believe a woman), and Murphy's Diana rejoicing as she welcomed Futral's Calisto as a follower, in "Parto lieto, se la tua fede" (I leave, happy in your loyalty), and later condemning her to death, in a fiery aria, when she betrays her vow.