HOIBY The Tempest • Hugh Murpny, cond; Robert Balonek (Prospero); Molly Davey (Ariel); Catherine Webber (Miranda); Joshua Benvenuto (Caliban); Anthony Caputo (Ferdinand); Rasdia Wilmot (Trinculo); Others; Purchase Op O • ALBANY TROY 1106 (2 CDs: 147:01)

Lee Hoiby’s song cycle I was there recently impressed, appearing as part of a mixed-composer disc entitled “American Song for the New Millennium” (Albany 1050). Here is an opera that shows just how special this composer’s works really are. This is actually the “new Purchase revision” of Hoiby’s Tempest. The original, given in Des Moines in 1985, contained a ballet of the Sprites (act II) and a longer version of Ariel’s aria, “You three men of sin.” Hoiby’s libretto is by Mark Shulgasser, “after Shakespeare.” The pace of the action is finely judged.

The piece begins with the depiction of a storm. Hoiby clearly sees the sea as an elemental dark force, painting it with a dense harmonic language. His use of lighter textures and appealing harmonies is the prevailing impression left by this piece, though; try the gossamer Prelude to act II. The part of Miranda is taken by Catherine Webber, who starts rather tremulously, but by the time of her duet with Ferdinand she has found her voice (and she is actually radiant in their act III duet). Steadier by far is Robert Balonek as Prospero; he brings a tenderness that reflects that of Hoiby’s writing at “Now, thou art inclined to sleep,” and really comes into his own in his long speech towards the close of the opera (from “You do look, my son, as if you were dismayed”), where Hoiby’s music begins to positively glow. The high soprano Molly Davey is a light-as-a-feather Ariel, agile and full of life; her sprightly wordless commentaries on Prospero’s words are a source of continual delight, and her aria, “Come unto these yellow sands,” is a gently lilting bonbon that is all too brief. Ariel is given a bigger part to play in act II, including a beautiful, ethereal vocalise that acts as an interlude.

Joshua Benvenuto is a creepy Caliban who boasts excellent vocal legato (“The island’s mine which thou tak’st from me” furnishes a prime example of his best traits), while Rasdia Wilmot’s Trinculo is magnificently comedic. The scene of Caliban’s drunkenness that ends act I is beautifully written by Hoiby, who manages to balance the levity of the alcohol-fuelled antics with intimations of greater things afoot. Caliban’s act II aria, “Be not afeard,” is sung against elusive accompaniment that seems to be the musical equivalent of a wisp of smoke.

Hoiby deploys his chorus sparingly but effectively, be it in the stormy Prologue, as an otherworldly addition to Ariel’s music, or to highlight the final rejoicing.

The twofer splits the music pretty much down the middle, meaning the CD equivalent of what used to be known in LP days as the “side break” is awkward (it occurs around 12 minutes into the second act). Despite some minor caveats, though, this is an important release that will bring much joy and will further enhance Hoiby’s deserved good reputation.

FANFARE: Colin Clarke