Handel Athalia (HWV 52, 1733)

Source for libretto: http://opera.stanford.edu/iu/libretti/athalia.htm

George Frideric Handel

Athalia

(1733)

HWV 52

An Oratorio; or Sacred Drama

Words by Samuel Humphreys
(after Athalie by Jean Racine)

Uploaded on 2014-08-14 by julius1973 (16:9 480p 1h56m22s)
Une production CLC Productions
en coproduction avec France 3 Rhône-Alpes-Auvergne
le Festival d'Ambronay
avec la participation de France 2 et Mezzo

Xème Académie Baroque Européenne d’Ambronay

George Frideric Handel Athalia (HWV 52, 1733)

@Wikipedia, @IMSLP, YouTube playlist, review
Performance and video information
Conductor		Paul McCreesh
Orchestra		Xème Académie Baroque Européenne d’Ambronay
Chorus
Mise en scène		François Rancillac
Venue		Festival d'Ambronay
Performance date		2003
Subtitles		French
Performance duration		1h56m22s
Video type		480p 16:9
YouTube uploader		julius1973
YouTube upload date		2014-08-14
YouTube deletion date
Dramatis Personæ
Athalia, Baalite Queen of Judah and Daughter of Jezebel (soprano)		Blandine Staskiewitcz Marta Wlodarczyk
Josabeth, Wife of Joad (soprano)		Diana Higbee
Joas, King of Judah (boy soprano)		Vincent Riberi Nicolas Champart
Joad, High Priest (alto)		Damien Guillon David Clegg
Mathan, Priest of Baal, formerly a Jewish Priest (tenor)		Sébastien Obrecht
Abner, Captain of the Jewish Forces (bass)		Krzysztof Szumanski
Chorus of Young Virgins
Chorus of Israelites
Chorus of Priests and Levites
Chorus of Attendants
Chorus of Sidonian Priests
Libretto and links
#	- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -	McCreesh 2003
Act One
1	1. Overture	1-McCreesh 1/fast-McCreesh
Act 1, Scene 1
Josabeth, Priests and Chorus of Young Virgins and Israelites.
2	2. Air Josabeth Blooming virgins, spotless train, Tune to transport all your lays! Hail Jehovah's wond'rous reign, Wake the dayspring with his praise! Blooming virgins. . . da capo	(2/Blooming-McCreesh) 2/Blooming-McCreesh (2/Hail-McCreesh) 2/Hail-McCreesh 2/Blooming-McCreesh (2/ritornello-McCreesh)
3	3. Chorus Young Virgins The rising world Jehovah crown'd With bright magnificence around! He hung the radiant orbs on high, And pour'd the sunbeams through the sky; He lent the flow'rs their lovely glow, And breath'd the fragrance they bestow; The plains with verdant charms array'd, And beautify'd with green the glade. Israelites O mortals, if around us here So wond'rous all his works appear, Ah think with awe, ye sons of men, How wond'rous is their author then!	(3/Virgins/The-McCreesh) 3/Virgins/The-McCreesh 3/Israelites/O-McCreesh hmmm (3/ritornello-McCreesh)
4	4. Solo and Chorus Josabeth Tyrants would in impious throngs Silence His adorers' songs; But shall Salem's lyre and lute At their proud command be mute? Israelites Tyrants, ye in vain conspire! Wake the lute and strike the lyre! Josabeth Why should Salem's lyre and lute At their proud command be mute? Israelites Wake the lute and strike the lyre!	(4/Josabeth/Tyrants-McCreesh) 4/Josabeth/Tyrants-McCreesh 4/Israelites/Tyrants-McCreesh 4/Josabeth/Why-McCreesh 4/Israelites/Wake-McCreesh (4/ritornello-McCreesh)
5	5. Recitative Abner When he is in his wrath reveal'd, Where will the haughty lie conceal'd?	5-McCreesh
6	6. Air & Chorus Abner When storms the proud to terrors doom, He forms the dark majestic scene, He rolls the thunder through the gloom, And on the whirlwind rides serene. Israelites O Judah, boast his matchless law, Pronounc'd with such tremendous awe! When tempests his approach proclaim'd, And Sinah's trembling mountain flam'd, All Judah then his terrors saw.	(6/Abner-McCreesh) 6/Abner-McCreesh 6/Israelites-McCreesh (6/ritornello-McCreesh)
Act 1, Scene 2
Enter Joad.
7	7. Recitative Joad Your sacred songs awhile forbear, Our festival demands your care; And now no longer let your stay The due solemnities delay.	7-McCreesh
8	8. Accompagnato Joad O Judah, Judah, chosen seed, To what distress art thou decreed! How are thy sacred feasts profan'd, Thy rites with vile pollution strain'd! Proud Athalia's impious hand Sheds desolation through the land, Bids strange, unhallow'd altars flame, And proudly braves Jehovah's name.	8-McCreesh
9	9. Solo and Chorus Joad O Lord, whom we adore, Shall Judah rise no more? Can this be thy decree. Hear from thy mercy seat The groans thy tribes repeat, The sighs they breathe to thee. Israelites Hear from thy mercy seat, The groans thy tribes repeat, The sighs they breathe to thee.	(9/Joad-McCreesh) 9/Joad-McCreesh (9/Joad/Hear-McCreesh) 9/Joad/Hear-McCreesh 9/Israelites/Hear-McCreesh (9/ritornello-McCreesh)
Act 1, Scene 3
Athalia and Chorus of Attendants.
10	10. Accompagnato Athalia (starting out of a slumber) What scenes of horror round me rise! I shake, I faint, with dire surprise! Is sleep, that frees the wretch from woe, To majesty alone a foe?	(10-McCreesh) (10-McCreesh) 10-McCreesh
11	Enter Abner and Mathan. 11. Recitative Athalia O Mathan, aid me to control The wild confusion of my soul! Mathan Why shrinks that mighty soul with fear? What cares, what danger can be near? Athalia E'en now, as I was sunk in deep repose, My mother's awful form before me rose; But ah! she chill'd my soul with fear, For thus she thunder'd in my ear:	11-McCreesh
12	12. Accompagnato Athalia «O Athalia, tremble at thy fate! For Judah's God pursues thee with His hate, And will with unrelenting wrath this day Set all His terrors round thee in array.»	12-McCreesh
13	13. Chorus of Attendants and Sidonian Priests The gods, who chosen blessings shed On majesty's anointed head, For thee their care will still employ, And brighten all thy fears to joy.	(13-McCreesh) 13-McCreesh
14	14. Recitative Athalia Her form at this began to fade, And seem'd dissolving into shade. In waking starts I vainly press'd To clasp her to my panting breast: She, pale, from my embrace withdrew, And bleeding limbs lay mangled in my view; The horrid carnage dogs contending tore, And drank with dreadful thirst the floating gore.	14-McCreesh
15	15. Chorus of Attendants and Sidonian Priests Cheer her, O Baal, with a soft serene, And in thy votary protect the queen!	(15-McCreesh) 15-McCreesh (15/ritornello-McCreesh)
16	16. Recitative Athalia Amidst these horrors that my soul dismay'd, A youth I saw in shining robes array'd, Such as the priests of Judah wear, When they for solemn pomp prepare. His lovely form and winning smile Suspended all my fears awhile. But as the young barbarian I caress'd, He plung'd a dagger deep within my breast. No efforts could the blow repel, I shriek'd, I fainted, and I fell. Mathan Great queen, be calm! These fears I deem The birth of a delusive dream. Let harmony breathe soft around, For sadness ceases at the sound.	16-McCreesh
17	17. Air Mathan Gentle airs, melodious strains! Call for raptures out of woe, Lull the regal mourners' pains, Sweetly soothe her as you flow. Gentle airs. . . da capo	(17-McCreesh) 17-McCreesh (17/Lull-McCreesh) 17/Lull-McCreesh 17/Gentle-McCreesh (17/ritornello-McCreesh)
18	18. Air Athalia Softest sounds no more can ease me, Heav'n a weight of woe decrees me, Horrors all my hopes destroy. Whilst such rising torments grieve me, Tuneful strains can ne'er relieve me, Vain is the voice of joy.	(18-McCreesh) 18-McCreesh 18-McCreesh (18/Whilst-McCreesh) 18/Whilst-McCreesh (18/ritornello-McCreesh)
19	19. Recitative Mathan Swift to the temple let us fly, to know What mansion hides this youthful foe. Abner I'll haste the pontiff to prepare For this black storm of wild despair.	19-McCreesh
20	20. Chorus of Attendants The traitor, if you there descry, Oh, let him by the altar die.	20-McCreesh
Act 1, Scene 4
Joad, Josabeth, Chorus, and to them Abner.
21	21. Recitative Joad My Josabeth, the grateful time appears To bid dejected Judah end her fears. Josabeth O tell the people, as I oft have craved, How I from death the royal infant sav'd. Enter Abner. Abner Priest of the living God, with anxious heart Proud Athalia's purpose I impart. With vengeful haste she marches here, To brave the God whom we revere. She says this pile conceals a youthful foe, Whose fall, she means, shall end her jealous woe. Josabeth Oh, killing shock of unexpected pain! Oh, innocence, my tender care in vain! Must I at last my cherish'd joys forgo, And drink, alas, this bitter cup of woe!	21-McCreesh
22	22. Air Josabeth Faithful cares in vain extended, Lovely hopes for ever ended, Beamy dawn of joy, farewell! Gentle death, at last reveal me, For the cruel woes that grieve me, Thou alone canst now repel! Faithful cares. . . da capo	(22-McCreesh) 22-McCreesh (22/Gentle-McCreesh) 22/Gentle-McCreesh (22/Faithful-McCreesh) 22/Faithful-McCreesh (22/ritornello-McCreesh)
23	23. Recitative Abner Oh cease, fair princess, to indulge your woe; No mortal to your son can prove a foe. Joad This grief, O Josabeth, degrades your soul; Can God no longer Judah's foe control? I trust he will his gracious care employ, To make us close this festival with joy.	23-McCreesh
24	24. Air & Chorus Joad Gloomy tyrants, we disdain All the terrors you intend. All your fury will be vain, And in low confusion end! Israelites Hallelujah! Hallelujah!	(24/Joad/Gloomy-McCreesh) 24/Joad/Gloomy-McCreesh (24/Joad/All_your_fury-McCreesh) 24/Joad/All_your_fury-McCreesh (24/Joad/ritornello-McCreesh) 24/Israelites/Hallelujah-McCreesh
Act Two
Act 2, Scene 1
The Temple. Joas, Joad, Josabeth, Abner, Priests and Levites.
25	25. Solo and Chorus Priests, Levites and Israelites The mighty pow'r in whom we trust, Is ever to his promise just; He makes this sacred day appear The pledge of a propitious year. Joad He bids the circling season shine, Recalls the olive and the wine, With blooming plenty loads the plain, And crowns the fields with golden grain. Priests, Levites and Israelites Give glory to His awful name, Let ev'ry voice His praise proclaim!	(Act_Two-McCreesh) (Act_Two/tap_tap-McCreesh) (25-McCreesh) 25-McCreesh (25/Joad-McCreesh) 25/Joad-McCreesh (25/Priests/Give-McCreesh) 25/Priests/Give-McCreesh (25/ritornello-McCreesh)
26	26. Air Josabeth Through the land so lovely blooming, Nature all her charms assuming, Wakes the soul to cheerful praise. Verdant scenes around us rising, Each delighted sense surprising, Softly crown the circling days. Through the land. . . da capo	(26-McCreesh) 26-McCreesh (26/Verdant-McCreesh) 26/Verdant-McCreesh (26/Through-McCreesh) 26/Through-McCreesh (26/ritornello-McCreesh)
27	27. Recitative Abner Ah, were this land from proud oppression freed, Judea would be bless'd indeed! Joad O Abner, wert thou certain that the sword Had not destroy'd the race by thee deplor'd, Did one dear branch of that great stem remain: Wouldst thou, O Abner, then his cause maintain?	27-McCreesh
28	28. Air Abner Ah, canst thou but prove me! To vengeance I spring, No terrors shall move me, I'll fall for my king. But whilst you relieve me Awhile from my pain, I fear you deceive me With joys that are vain. Ah, canst thou. . . da capo	28-McCreesh (28/But-McCreesh) 28/But-McCreesh (28/Ah-McCreesh) 28/Ah-McCreesh (28/ritornello-McCreesh)
29	29. Recitative Joad Thou dost the ardour that I wish display; Revisit me before the close of day. See, see, the proud imperious queen Approaches with a glaring mien!	29-McCreesh
Act 2, Scene 2
Enter Athalia.
29+	Athalia Confusion to my thoughts, my eyes have view'd My dreadful vision in this place renew'd! Through all my veins the chilling horrors run. Say, Josabeth, is this fair youth thy son? Josabeth Though much he merits my fond love, yet he Is not indebted for his birth to me. Athalia Who is thy father? Let his name be known! Josabeth He has no father but kind Heav'n alone. Athalia Why so officious does thy zeal appear? I mean the answer from his lips to hear. How art thou call'd? Joas Eliakim. Athalia Unfold Thy father's name! Joas In me, alas, behold An orphan, cast by providence, and ne'er As yet acquainted who his parents were. Athalia Give me to understand whose tender cares Sustain'd and rear'd thee in thy infant years?	29+-McCreesh
30	30. Air Joas Will God, whose mercies ever flow, Expose his children's youth to woe? The little birds his bounty taste, All nature with his gifts are grac'd. Each day his care I implore, He feeds me from his altar's store.	(30-McCreesh) 30-McCreesh 30/The-McCreesh 30/Each-McCreesh (30/ritornello-McCreesh)
31	31. Recitative Athalia 'Tis my intention, lovely youth, that you A scene more suited to your worth shall view; You to the palace shall this day repair, And live consigned to Athalia's care. Joas Shall I behold the God by whom I'm bless'd Profan'd by you with rites that I detest? Athalia Princess, in discipline you much excel; Whate'er you dictate he remembers well. But be assured that one revolving hour Shall snatch your learned pupil from your pow'r.	31-McCreesh
32	32. Air Athalia My vengeance awakes me, Compassion forsakes me, All softness and mercy away! My foes with confusion Shall find their illusion And tremble before me today. My vengeance awakes me. . . da capo Exit Athalia.	(32-McCreesh) 32-McCreesh (32/My_foes-McCreesh) 32/My_foes-McCreesh (32/My_vengeance-McCreesh) 32/My_vengeance-McCreesh (32/ritornello-McCreesh)
33	33. Duet Josabeth My spirits fail, I faint, I die! Joas Ah, why? Josabeth The grave shall hide my head! Joas Is hope for ever fled? Josabeth My grief's too great to bear, For thee sorrows rend me. Joas Kind Heav'n will defend me. Josabeth Thy ardours affect me. Joas He sure will protect me. Josabeth Whate'er this tyrant may decree, O God, I place my trust in thee!	33-McCreesh 33/Josabeth/Whate'er-McCreesh (33/ritornello-McCreesh)
Act 2, Scene 3
Re-enter to them Joad, Chorus of Young Virgins, and Chorus of Priests and Levites.
34	34. Recitative Joad Dear Josabeth, I trembled whilst my woe Did in its first emotions wildly flow; But when at last thou didst the pang control, My fading joy re-kindled in my soul.	34-McCreesh
35	35. Duet Joad Cease thy anguish, smile once more, Let thy tears no longer flow! Judah's God, whom we adore, Soon to joy will change thy woe. Josabeth All his mercies I review, Gladly with a grateful heart, And I trust he will renew Blessings he did once impart. Both Whate'er this tyrant may decree, Returning joys we soon shall see.	(35-McCreesh) 35/Joad/Cease-McCreesh 35/Josabeth/All-McCreesh 35/Both-McCreesh (35/ritornello-McCreesh)
36	36. Recitative Abner Joad, ere day has ended half his race, Again expect me in this sacred place.	36-McCreesh
37	37. Chorus Young Virgins The clouded scene begins to clear, And joys in single trains appear. Priests and Levites When crimes aloud for vengeance call, The guilty will be doomed to fall. Tutti Rejoice, O Judah, in thy God, The proud alone shall feel his rod! Whilst blessings, with a mild decree, His mercy now prepares for thee.	(37-McCreesh) 37/Virgins-McCreesh (37/Priests/When-McCreesh) 37/Priest/When-McCreesh (37/Tutti/Rejoice-McCreesh) 37/Tutti/Rejoice-McCreesh (37/ritornello-McCreesh)
Act Three
Act 3, Scene 1
Joad, Joas, Josabeth, Chorus of Young Virgins, Chorus of Priests and Levites.
38	38. Accompagnato Joad What sacred horrors shake my breast! Ah, 'tis the pow'r divine confess'd! Who can his energy control? He comes, he comes, and fires my soul!	(38-McCreesh) 38-McCreesh
39	39. Chorus of Virgins, Priests and Levites Unfold, great seer, what Heav'n imparts, And speak glad tidings to our hearts!	(39-McCreesh) 39-McCreesh
40	40. Accompagnato Joad Let harmony breathe soft around, And aid my raptures with the sound!	40-McCreesh
41	41. Solo and Chorus Joad Jerusalem, thou shalt no more A tyrant's guilty reign deplore; No longer with dejected brow Shall solitary sit as now. Her fury soon shall cease to grieve thee, Destin'd vengeance swiftly flies! Heav'n itself will now relieve me! See, she falls, she bleeds, she dies! Virgins, Priests and Levites O shining mercy, gracious pow'r That aids us in the needful hour!	(41/Joad-McCreesh) 41/Joad-McCreesh 41/Chorus-McCreesh (41/ritornello-McCreesh)
42	42. Recitative Joad Eliakim Joas My father! Joad Let me know: Should Heav'n on thee a diadem bestow, What reign of Judah's kings wouldst thou that day Choose for the model of thy future sway? Joas Should God such glory for my lot ordain, Like righteous David I would wish to reign. Joad O Joas, O my king, thus low to thee I pay the homage of my bended knee! Joas Is this reality, or kind deceit? Ah, can I see my father at my feet? Josabeth Ye sacred bands, who serve the God of truth, Revere your sov'reign in that royal youth!	42-McCreesh
43	43. Chorus of Virgins, Priests and Levites With firm united hearts, we all Will conquer in his cause, or fall!	43-McCreesh
Act 3, Scene 2
Enter Mathan.
44	44. Recitative Mathan O princess, I approach thee to declare How much thy welfare is my care. Josabeth What means, proud Mathan, thy intrusion here? Has Heav'n no vengeance for thy crimes to fear? Mathan Fair Josabeth, though you insult me so, Trust me, in Mathan you behold no foe!	44-McCreesh
45	45. Air Josabeth Soothing tyrant, falsely smiling, Virtue's foes I ne'er shall fear; Flatt'ring sounds and looks beguiling Lose their artful meaning here. Go, thou vain deceiver, go, Alike to me a friend or foe!	(45-McCreesh) 45-McCreesh (45/Go-McCreesh) 45-McCreesh (45/ritornello-McCreesh)
Act 3, Scene 3
Re-enter Joad.
46	46. Recitative Joad Apostate priest! How canst thou dare To violate this house of pray'r? Mathan Joad, I scorn thy proud insulting mien; Prepare to answer thy offended queen!	46-McCreesh
Act 3, Scene 4
Enter Athalia, Abner and Chorus of Sidonian Priests.
46+	Athalia O bold seducer, art thou there? Where is the youth, inform me, where? Joad Ye priests, the youth before her bring! Proud woman, there, behold our king!	46+-McCreesh
47	47. Solo and Chorus Virgins, Priests and Levites Around let acclamations ring: Hail, royal youth, hail royal youth, Long live the king! Joad Reviving Judah shall no more Detested images adore; We'll purge with a reforming hand Idolatry from out the land. May God, from whom all mercies spring, Bless the true church, and save the king! Virgins, Priests and Levites Bless the true church, and save the king!	47-McCreesh
48	48. Recitative Athalia Oh, treason, treason, impious scene! Abner, avenge thy injur'd queen! Joad Great chief, behold thy royal Joas there, Preserv'd by Josabeth's successful care! Thy dauntless loyalty of soul I know, Thou canst not be to David's race a foe. Abner Does Heav'n this blessing then at last accord? O royal Joas, O my honour'd Lord!	48-McCreesh
49	49. Air Abner Oppression, no longer I dread thee, Thy terrors, proud queen, I despise! Thy crimes to confusion have led thee, And Judah triumphant shall rise!	(49-McCreesh) 49-McCreesh
50	50. Recitative Athalia Where I am? Furies, wild despair! Where are my guards, my vassals, where? Mathan, invoke thy God to shed His vengeance on each rebel's head! Mathan He hears no more, our hopes are past, The Hebrews' God prevails at last! Alas, alas, my broken vow, His dreadful hand is on me now!	50-McCreesh
51	51. Air Mathan Hark! His thunders round me roll, His angry, awful frowns I see, His arrows wound my trembling soul: Is no more mercy left for me? Ah no, he now denies to save. Open, O earth, and be my grave!	(51-McCreesh) 51-McCreesh (51/Mathan/Ah-McCreesh) 51/Mathan-McCreesh (51/ritornello-McCreesh)
52	52. Recitative Joad Yes, proud apostate, thou shalt fall, Thy crimes aloud for vengeance call! Athalia I see all hopes, all succours fail, And Judah's God will now prevail; I see my death this day decreed, But, traitors, I can dare to bleed. Let Jezebel's great soul my bosom fill, And ev'n in death, proud priest, I'll triumph still.	52-McCreesh
53	53. Air Athalia To darkness eternal And horrors infernal Undaunted I'll hasten away. O tyrants, your treason Shall in the due season Weep blood for this barbarous day.	(53-McCreesh) 53-McCreesh (53/Athalia/O-McCreesh) 53/Athalia/O-McCreesh (53/ritornello-McCreesh)
Act 3, Scene 5 (the last)
Joas, Joad, Josabeth, Abner and Chorus.
54	54. Recitative Joad Now, Josabeth, thy fears are o'er. Josabeth Bless'd be his name, whom we adore.	54-McCreesh
55	55. Duet Joad Joys, in gentle trains appearing, Heav'n does to my fair impart; And, to make them more endearing, I shall share them with my heart! Josabeth Softest joys would but deceive me, Hadst thou not thy happy part; O my dearest lord, believe me, Thou shalt share them with my heart. Both I / You shall / shalt share them with my / thy heart.	55/Joad-McCreesh 55/Josabeth-McCreesh 55/Both-McCreesh (55/ritornello-McCreesh)
56	56. Recitative Abner Rejoice, O Judah, this triumphant day! Let all the goodness of our God display, Whose mercies to the wond'ring world declare His chosen people are his chosen care.	56-McCreesh
57	57. Chorus of Virgins, Priests, Levites, Israelites Give glory to His awful name, Let ev'ry voice His praise proclaim!	57-McCreesh
Final material		Closing_credits-McCreesh (this overlaps with the final chorus) End_of_performance-McCreesh

Initially input by Pierre Degott (degott@zeus.univ-metz.fr);
HTML conversion by Potharn Imre (pubi@altavista.net)

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Alternative performances:

Handel / Athalia, HWV 52 (Hogwood)
Athalia (soprano) - Joan Sutherland
Josabeth (soprano) - Emma Kirkby
Joas (boy soprano) - Aled Jones
Joad (countertenor) - James Bowman
Mathan (tenor) - Anthony Rolfe Johnson
Abner (bass) - David Thomas
The Choir of New College, Oxford & the Academy of Ancient Music, dir. Christopher Hogwood (1986)
(Published on Jun 11, 2013 by scrymgeour34, audio-only, 2:01:32)

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Here is what Donald Burrows wrote about Athalia in his biography of Handel (first, 1994, edition):

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[Samuel] Humpreys was again the librettist for
Handel’s next [following HWV 51, Deborah] oratorio, Athalia (HWV 52, 1733),
which again centres on one of the formidable ladies of the Old Testament,
cast here as an opponent of the forces of true religion.
As a dramatic piece Athalia came out much better than Deborah,
no doubt largely because Humphreys was working from a stage model (a play by Racine)
instead of directly from the Scriptures.
Some of the important motivations behind the opening dramatic situation are obscure:
Humphrey’s libretto never explain that Athalia [s] has killed
all the royal house apart from the young boy Joas [treble]
[see 2 Kings 8-11 and 2 Chronicles 22-23],
nor does it explain why Mathan [tenor] the Baalite priest is an ‘apostate’.
But thereafter the general internal outlines are clear.
The High Priest Joad [alto] and his wife Josabeth [s] have sheltered Joas,
in the face of Queen Athalia’s tyranny [not to mention her regicide]:
in Part 3 Joas’s true identity is revealed and he is enthroned,
whereupon Athalia’s commander-in-chief Abner [b] deserts her,
and Mathan acknowledges that Jehovah has triumphed over Baal.
Joad had prophesied Athalia’s death at the beginning of Part 3,
but she maintains defiance to the end;
her final fortunes and those of Mathan are not portrayed.

Athalia achieves a rather better balance of solos and choruses than Deborah.
Handel’s departure from operatic practice is signaled by
the low proportion of da capo arias (six out of 16),
but the characters are lively and well-differentiated
and are manifestly the fruit of his operatic experience.
The arias at the start of Part 2, in particular,
have characteristic motto phrases
and might be described as musical pictures from an operatic gallery —
‘Through the land so lovely blooming’ (Josabeth),
‘Ah, canst thou but prove me’ (Abner),
‘Will God whose mercies ever flow’ (Joas) and
‘My vengeance awakes me’ (Athalia).
There is also an extended operatic scena in Part 1,
as Athalia, ‘starting out of slumber’,
describes the visions she has seen:
first her mother [none other than Jezebel],
who warned her of Joad’s forthcoming vengeance
(‘Oh, Athalia, tremble at thy fate’),
and then a youth in the robes of a Jewish priest,
who plunged a dagger into her breast.
These visions explain the force of her reaction
when she sees Joas in Part 2,
though his true identity is not yet revealed to her.
Perhaps the most remarkable feature of Athalia’s scena
is the dramatic integration of two choruses
(‘The Gods, who chosen blessings shed’ and ‘Cheer her, O Baal’),
which intensify rather than impede the action.
Such a technique is in fact the greatest advance in Athalia.
Sometimes it extends to physical integration within a solo movement,
as when the chorus completes Joad’s aria ‘Jerusalem, thou shalt no more’;
but mainly the relationship is less direct,
the chorus commenting on or participating in the action in independent movements
which are more than mere ornamental additions to the structure.
Handel had used up all his transferable coronation music
[recycled into his earlier works] by the time Athalia,
but that alone does not explain the change in the chorus’s dramatic function,
for he could perfectly well compose in the ‘coronation anthem style’
when occasion demanded,
as he did in the opening of Part 2 and (most directly) in
‘Around let acclamations spring’ at the recognition of Joas.

Athalia, written for Oxford,
has been described [by Winton Dean] as ‘the first great English oratorio’,
and not without justification.
Yet in some ways it is a lightweight work,
weightier than the chamber-scale Cannons version of Esther [HWV 50a]
(which might, on its own terms, have an equal claim to the title)
but not of the larger-scale proportions demanded by Handel’s London theatre audiences.
For Oxford, Handel composed a compact work [around two hours],
and part of its charm lies in its status as a smaller sibling of the larger oratorios.
Athalia nevertheless marks both the climax and the conclusion of
Handel’s first period of intense experimentation with English public oratorio.