In the world of early music, little-known works by forgotten composers occasionally resurface to dazzle anew. The latest such gem to be unearthed is Serpentes Ignei in Deserto, an oratorio by German-born Baroque master Johann Adolph Hasse. Under the baton of rising star Thibault Noally, an all-star cast has given this 18th-century rarity a revelatory recording to resurrect its dramatic brilliance.
Hasse was once hailed as an operatic trendsetter whose works reigned on Europe’s stages. But nowadays, this prolific composer is often overshadowed by his more famous contemporaries like Handel and Vivaldi. Written in 1734 when Hasse was chorus master at a Venetian orphanage, Serpentes Ignei is no typical religious work—it’s essentially a gripping “church opera” brimming with vibrant orchestral colors and virtuosic vocal fireworks.
A Biblical Story Springs to Life
The oratorio’s Latin text, based on an Old Testament tale, depicts God punishing the Israelites with a plague of snakes until Moses’ prayers bring salvation. Hasse’s taut, almost cinematic score delivers this dramatic arc in just eight arias and one duet.
From the first electrifying notes of the opening Sinfonia, Noally’s ensemble Les Accents plays with crackling energy and lyrical exuberance. The soloists—four countertenors and one soprano—match that level of extroverted intensity, dazzling in their nimble runs and expressive shadings.
Countertenors Take Center Stage
The standouts are the dueling countertenor leads: Philippe Jaroussky as a nobly anguished Moses and Jakub Józef Orliński as his brother Nathanael. Both possess voices of astonishing agility and tonal beauty that seem tailor-made for Hasse’s acrobatic writing.
The performances are dazzling; the strings of Les Accents catch the tone of extrovert brilliance and lyrical exuberance right from the start.
– The Guardian
Julia Lezhneva provides shimmering soprano contrast as the Angel, floating ethereal high notes above the rich countertenor sound world. The three other soloists have briefer roles but make vivid impacts when called upon.
Audiophile-Worthy Sound
Captured in vibrant high-resolution by the Erato label, the recording itself is a sonic delight. Every crisp articulation, sighing appoggiatura, and thundering trill comes across with startling immediacy. Rarely has Baroque vocal virtuosity been rendered with such realism and presence.
While the Latin text and biblical subject may seem esoteric, the emotional momentum of Serpentes Ignei is universally compelling. By turns glowing and glowering, prayerful and pyrotechnic, it sweeps the listener along on a vividly textured journey from dread to deliverance.
Reviving a Forgotten Masterwork
The level of artistry lavished on this obscure oratorio makes it feel like a major event. Noally and company have not just dusted off a neglected antique; they’ve polished it to a dazzling new sheen. One hopes this marks a turning point in the Hasse revival, spurring more advocates to take up his languishing works.
Though not (yet) a household name like his Baroque brethren, Hasse at his best could match their heights of musical craftsmanship and expressive power, as this album triumphantly proves. For fans of early music and impassioned singing, Serpentes Ignei in Deserto is not just a discovery but a revelation.
