Handel - L'Allegro, il Pensoroso el il Moderato / Brandes, Dawson, Daniels, Bostridge, Miles, Nelson

Editorial Reviews
Amazon.com
One of the best ideas Handel and his colleagues ever had was to make an oratorio out of John Milton's verse--specifically, of Milton's "L'Allegro" and "Il Penseroso" ("The Happy Man" and "The Pensive Man"), with the libretto cutting back and forth between the two poems to make a sort of dialogue, and with an added conclusion titled "Il Moderato" ("The Moderate Man"). The resulting work has never been as famous as Messiah, but it has always been a special favorite of Handel lovers. The King's Consort made a fine recording of L'Allegro in 1999; the selling point of the present version (which appeared almost exactly one year later) is the cast of soloists, which includes soprano Lynne Dawson and countertenor David Daniels, both genuine Baroque superstars, and tenor Ian Bostridge, current king of the art song. All three are very good indeed (as is bass Alastair Miles), with Bostridge in particularly fine form. You wouldn't think anyone could outdo the King's Consort's extraordinary Paul Agnew, but Bostridge does: every vocal color is apt, every word is completely clear. Interestingly, the aria everyone looks forward to, "Sweet Bird," goes not to Dawson but to her younger colleague Christine Brandes. The coloratura holds no problems for Brandes, though she sounds as if she's having to work harder than does Lorna Anderson for the King's Consort (to say nothing of the divine Miss Emma).

The Ensemble Orchestral de Paris is a modern-instrument group seemingly doing an imitation of period instruments, and they very nearly succeed. (It's the smooth, brassy trumpets that give them away.) The players have obviously learned something from their period-instrument colleagues: the sound is nice and lean, balance problems are minor, and the flute soloist in "Sweet Bird" does a fair imitation of an old flauto traverso. John Nelson's tempos are often very quick, yet nothing seems rushed; indeed, thanks to Nelson's good judgment and the skill of his soloists, the fast tempos make the music seem like heightened speech. If your shelves and/or wallet can handle only one L'Allegro, the King's Consort would be a better choice at the moment, but real Handel lovers--and fans of Daniels, Dawson, and Bostridge--won't want to miss this. --Matthew Westphal

Handel - L'Allegro, il Pensoroso el il Moderato / Brandes, Dawson, Daniels, Bostridge, Miles, Nelson, Music, George Frideric Handel, John Nelson, Ensemble Orchestral de Paris, Ian Bostridge, David Daniels, Christine Brandes, Lynne Dawson, Alastair Miles, Bach Choir, Choral, Classical, Classical Composers, Classical Music, Oratorio, Orchestral & Symphonic

Handel - L'Allegro, il Pensoroso el il Moderato / Brandes, Dawson, Daniels, Bostridge, Miles, Nelson
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a voice teacher and early music fan

Handel Oratorio of Milton Verse Most Beautifully Sung

Thrilling Version of Handel's Great Setting of Milton

Exquisite

Allegro pur troppo

Handel - L'Allegro, il Pensoroso el il Moderato / Brandes, Dawson, Daniels, Bostridge, Miles, Nelson
George Frideric Handel , John Nelson , Ensemble Orchestral de Paris , Ian Bostridge , David Daniels , Christine Brandes , Lynne Dawson , Alastair Miles , and Bach Choir
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Handel - Theodora / Gritton, Bickley, Blaze, Agnew, A. Smith, N. Davies, Gabrieli Consort and Players, McCreesh

Handel: L'Allegro, il Penseroso ed il Moderato / Gritton, McFadden, L. Anderson, Agnew, N. Davies; King

ASIN: B00004W477
Release Date: 2000-11-07

Tracks:

Pastoral Ode In Three Parts: L'Allegro: No. 1 Accompagnato - Hence, Loathed Melancholy
Pastoral Ode In Three Parts: Il Penseroso: No. 2 Accompagnato - Hence, Vain Deluding Joys
Pastoral Ode In Three Parts: L'Allegro: No. 3 Air - Come, Thou Goddess Fair And Free
Pastoral Ode In Three Parts: Il Penseroso: No. 4a Air - Come Rather Goddess Sage And Holy
Pastoral Ode In Three Parts: L'Allegro: No. 5 Air And Chorus - Haste Thee Nymph
Pastoral Ode In Three Parts: L'Allegro: No. 6 Air And Chorus - Come, And Trip It As You Go
Pastoral Ode In Three Parts: Il Penseroso: No. 7 Accompagnato - Come Pensive Nun
Pastoral Ode In Three Parts: Il Penseroso: No. 8 Arioso - Come, But Keep Thy Wonted State
Pastoral Ode In Three Parts: Il Penseroso: No. 9 Accompagnato And Chorus - There Held In Holy Passion Still
Pastoral Ode In Three Parts: L'Allegro: Recitative - Hence, Loathed Melancholy; Recitative - And If I Give Thee Honour Due; No. 10 Air - Mirth, Admit Me Of Thy Crew
Pastoral Ode In Three Parts: Il Penseroso: No. 11 Accompagnato - First, And Chief, On Golden Wing
Pastoral Ode In Three Parts: Il Penseroso: No. 12 Air - Sweet Bird, That Shunn'st The Noise Of Folly
Pastoral Ode In Three Parts: L'Allegro: Recitative - If I Give Thee Honour Due; No. 13 Air - Mirth, Admit Me Of Thy Crew
Pastoral Ode In Three Parts: Il Penseroso: No. 14 Air - Oft On A Plat Of Rising Ground
Pastoral Ode In Three Parts: Il Penseroso: No. 15 Air - Far From All Resort Of Mirth
Pastoral Ode In Three Parts: L'Allegro: Recitative - If I Give Thee Honour Due; No. 16 Air - Let Me Wander, Not Unseen
Pastoral Ode In Three Parts: L'Allegro: No. 17 Air - Straight Mine Eye Hath Caught New Pleasures
Pastoral Ode In Three Parts: L'Allegro: No. 18 Accompagnato - Mountains On Whose Barren Breast
Pastoral Ode In Three Parts: L'Allegro: No. 19a Air And Chorus - Or Let The Merry Bells Ring Round

Tracks:

Pastoral Ode In Three Parts: Il Penseroso: No. 20b Accompagnato - Hence, Vain Deluding Joys
Pastoral Ode In Three Parts: Il Penseroso: No. 21a Air - Sometimes Let Gorgeous Tragedy
Pastoral Ode In Three Parts: Il Penseroso: No. 22 Air - But Oh! Sad Virgin, That Thy Power
Pastoral Ode In Three Parts: Il Penseroso: Recitative - Thus, Night, Oft See Me In Thy Pale Career
Pastoral Ode In Three Parts: L'Allegro: No. 23 Solo And Chorus - Populous Cities Please Me Then; No. 24 Air - There Let Hymen Oft Appear
Pastoral Ode In Three Parts: Il Penseroso: No. 25 Accompagnato - Me, When The Sun Begins To Fling
Pastoral Ode In Three Parts: Il Penseroso: No. 26 Air - Hide Me From Day's Garish Eye
Pastoral Ode In Three Parts: L'Allegro: No. 27 Air - I'll To The Well-Trod Stage Anon
Pastoral Ode In Three Parts: L'Allegro: No. 28 Air - And Ever Against Eating Cares
Pastoral Ode In Three Parts: L'Allegro: No. 29a Air - Orpheus' Self May Heave His Head
Pastoral Ode In Three Parts: L'Allegro: No. 30 Air And Chorus - These Delights, If Thou Canst Give
Pastoral Ode In Three Parts: Il Penseroso: Recitative - But Let My Due Feet Never Fail; No. 31 Chorus And Solo - There Let The Pealing Organ Blow
Pastoral Ode In Three Parts: Il Penseroso: No. 32b Air - May At Last My Weary Age
Pastoral Ode In Three Parts: Il Penseroso: No. 33 Chorus - These Pleasures, Melancholy, Give
Pastoral Ode In Three Parts: Il Moderato: No. 34 Accompagnato - Hence, Boast Not, Ye Profane
Pastoral Ode In Three Parts: Il Moderato: No. 35 Air - Come, With Native Lustre Shine
Pastoral Ode In Three Parts: Il Moderato: No. 36 Accompagnato And Chorus - Sweet Temp'rance In Thy Right Hand Bear
Pastoral Ode In Three Parts: Il Moderato: No. 37 Air - Come, With Gentle Hand Restrain
Pastoral Ode In Three Parts: Il Moderato: Recitative - No More Short Life They Then Will Spend; No. 38 Air - Each Action Will Derive New Grace
Pastoral Ode In Three Parts: Il Moderato: No. 39 Duet - As Steals The Morn Upon The Night
Pastoral Ode In Three Parts: Il Moderato: No. 40 Chorus - Thy Pleasures, Moderation, Give

Amazon.com

One of the best ideas Handel and his colleagues ever had was to make an oratorio out of John Milton's verse--specifically, of Milton's "L'Allegro" and "Il Penseroso" ("The Happy Man" and "The Pensive Man"), with the libretto cutting back and forth between the two poems to make a sort of dialogue, and with an added conclusion titled "Il Moderato" ("The Moderate Man"). The resulting work has never been as famous as Messiah, but it has always been a special favorite of Handel lovers. The King's Consort made a fine recording of L'Allegro in 1999; the selling point of the present version (which appeared almost exactly one year later) is the cast of soloists, which includes soprano Lynne Dawson and countertenor David Daniels, both genuine Baroque superstars, and tenor Ian Bostridge, current king of the art song. All three are very good indeed (as is bass Alastair Miles), with Bostridge in particularly fine form. You wouldn't think anyone could outdo the King's Consort's extraordinary Paul Agnew, but Bostridge does: every vocal color is apt, every word is completely clear. Interestingly, the aria everyone looks forward to, "Sweet Bird," goes not to Dawson but to her younger colleague Christine Brandes. The coloratura holds no problems for Brandes, though she sounds as if she's having to work harder than does Lorna Anderson for the King's Consort (to say nothing of the divine Miss Emma).

The Ensemble Orchestral de Paris is a modern-instrument group seemingly doing an imitation of period instruments, and they very nearly succeed. (It's the smooth, brassy trumpets that give them away.) The players have obviously learned something from their period-instrument colleagues: the sound is nice and lean, balance problems are minor, and the flute soloist in "Sweet Bird" does a fair imitation of an old flauto traverso. John Nelson's tempos are often very quick, yet nothing seems rushed; indeed, thanks to Nelson's good judgment and the skill of his soloists, the fast tempos make the music seem like heightened speech. If your shelves and/or wallet can handle only one L'Allegro, the King's Consort would be a better choice at the moment, but real Handel lovers--and fans of Daniels, Dawson, and Bostridge--won't want to miss this. --Matthew Westphal

Customer Reviews:

a voice teacher and early music fan.......2006-03-25

This composition is a Pastoral Ode in three parts after the poems by John Milton rearranged by James Harris and Charles Jennens..They are written for two sopranos (Christine Brandes & Lynne Dawson), male alto (David Daniels), tenor (Ian Bostridge) and Alastair Miles (bass); accompanied by Harpsichord, organ, cello and double bass. "L'Allegro" composed in 1740 is a unique hybrid,half ode, half oratorio,retaining a flavor of the theatre. The "Pensoroso" airs probe more deeply into the gloomier temprements, but the Allegro movements have an unrestrained exuberance that is infectious! Jennens supplied the words for "iL Moderato" and used part of Milton's Ode 'At A Solemn Music'.I can't imagine why anyone would give this disc less than 5 stars! The entire recording is filled with Handel's lovely melodies and sung so well by all the singers. Ian Bostridge's rendition of "Haste thee Nymph" with its jolly Ho Ho Ho's followed by the Chorus singing "Come and Trip It as you go" is wonderfully entertaining; David Daniel's skillful singing, particularly of "Sometimes Let Gorgeous Tragedy" is not to be missed by his fans. There is simply one "bouncy" tune after another throughout both discs. HOW COULD YOU NOT LIKE IT!!????

Handel Oratorio of Milton Verse Most Beautifully Sung.......2004-10-11

This exceptional Handel oratorio is based on two of Milton's youthful poems, "L'Allegro" ("The Happy Man") and "il Penseroso" ("The Pensive Man"), as well as Charles Jennens' verse, "il Moderato" ("The Moderate Man")...thus the unwieldy title of this disc! No matter as this pastoral ode is Handel at his finest, in my opinion, just as enthralling a work as his Messiah. The music is clever, joyous and consistently inventive. Thanks to a dynamic all-star cast, this disc completely captures the work's spirit as it is filled with fine melodies and lightning-fast mood changes. The result is a classical vocal recording of the highest order.

The five soloists shine brightly. Tenor Ian Bostridge paints his words brilliantly and enunciates the text in a stunning, natural manner that fleshes out every aria and recitative. He can be truly dazzling, for instance, capturing the merriment of his Part 1 solo, "Haste thee nymph". Bostridge seems to recognize every mood with his flexible voice. Complementing him are two stellar sopranos, Lynne Dawson and Christine Brandes. The seasoned Dawson is in full and warm voice, and she has an excellent showcase for her subtlety of phrasing and passionate treatment of words. She can be equally persuasive in Allegro and Penseroso music, for example, in Part 1, with the song group starting with "Come, pensive nun", which is raptly done, and in the spirited "Mirth, admit me of thy crew" just afterward. Her final duet with Bostridge, "As steals the morn upon the night", is a high point. At some points, she could loosen up to better capture the frivolity of some of her solos, but her artistry is amazing nonetheless. Brandes proves up to the challenge of her more experienced colleagues and excels with the extended air, "Sweet bird, that shunn'st the noise of folly", and in her plaintive rendition of "Oft on a plat of rising ground". Bass Alastair Miles also proves himself here, singing the fast, acrobatic music, as well as the more introspective with ease and grace. His high point has to be "Come, with naïve lustre shine" which opens "il Moderato". But once again, I save my highest praise for last. As in nearly all his ensemble recordings, countertenor David Daniels is the resident standout. Some of the music he sings was assigned to the soprano voice but now has been transposed and assigned to his voice type. The results are wondrous, as Daniels sings with great delicacy and fine control. No one can induce a greater sense of romanticism as well as he can. His solo, "Hide me from Day's garish eye" is a particularly striking moment on this recording sung with requisite sweetness but instilled with his unparalleled vocal dexterity. This has to be the best piece on the entire two-disc set.

The Bach Choir sings immaculately with the right level of spirituality and drama. Conductor John Nelson leads the Ensemble Orchestral de Paris, who play modern versus period instruments. The overall sound still feels authentic and quite moving. Highly recommended for Baroque music lovers and a must-have for Handel followers. If you enjoy this style of music, I also recommend getting the 1999 Philharmonia Baroque Orchestra recording of Thomas Arne's "The Masque of Alfred", which prominently features Daniels and Brandes.

Thrilling Version of Handel's Great Setting of Milton.......2003-04-12

This is a marvelous recording--infinitely superior, in my opinion, to that of John Eliot Gardiner. The rendering of Milton's wonderful poems is done with so much feeling and intelligence that it adds another level of meaning to the words. The soloists are thrilling, especially the counter-tenor, who gives an essential sense of the Baroque use of boys or castrati. While the Gardiner version employs a boy soprano (as did Handel in the first performance of this oratorio), I find his voice weak, and interesting only as a point of comparison and historical interest.
I am not impressed with the idea of "authentic" musical production--I would much rather hear the lively pacing of this recording than the so-called authentic (comatose) tempi of the Gardiner recording. I also prefer contemporary instruments to the ancient or imitation-ancient instruments that are supposed to enhance "authentic" productions. Case in point--the gorgeous transverse flute in this version versus the reedy piping of the recorder in the Gardiner version. Another point: this version includes airs that are left out of the Gardiner version. I suppose there are many iterations of the score since Handel changed it many times in his lifetime...but I love "But, O sad virgin, that thy power..." which is entirely missing from the Gardiner CD. All-in-all, choose this version--you will never tire of listening to it.

Exquisite.......2001-08-29

I like this recording to say the very least. It has a very pleasant feel to it. I listen to this whenever I get an opportunity. I have never come across such an ethereal CD such as this. The orchestrations are good. I highly recommend this one.

Allegro pur troppo.......2000-12-31

This recording has certainly generated a lot of talk, which I certainly welcome, as one who has been thrilled by the resurgence of Handel's popularity. This is also my fourth recording of the piece, so while I am rather critical of what I perceive to be this one's failings, I'm delighted to have it for the variety it provides. Firstly, I must agree with those assessments that find this version to be too fast, both the allegro as well as the penseroso sections. Reflection in singing is vital to this quirky composition, far more than show-off vocalization -- including a large occurence of overly snappy consonants. Secondly, I feel some grave errors occured in casting. I own many recordings featuring Ms.Dawson, Mr. Miles, Mr. Bostridge, Mr. Daniels, and even Ms. Brandes. I don't object to them in themselves, but for their problematic and personal styles. Ms. Dawson is FAR too warbly, her high notes have ALWAYS sounded pinched and I wonder if I am alone in finding her singing to border on the tortuous all too frequently. Mr. Miles, a great Claudio (Handel's Agrippina), for instance, is blustery in the worst way. Mr. Bostridge is cold,cold, cold even as he is brilliant (observe his photo). The tenor sounds possitively angry as he sings "laughter ho-ho-holding both his sides" as if such a gimicy piece were beneath his dignity, as I'm sure it is. I enjoy a countertenor addition here (why not?), but I keep wondering WHAT people find so enthralling about this voice? If this were a woman performer I would find her rather uninteresting. Is this fascination predicated on reverse gender-discrimination? I sincerely hope not. Perhaps unknown, but the odd-label with the Boston Baroque has the incomparable Mary Westbrook-Geha, who is the antithesis of a diva (while Daniels has been described as a "fake" diva, surely a little too harsh)and whose warm and inspired interpretations thrill the ear and the soul. And finally, while I rather like Ms. Brandes (Scarlatti's cantatas vol. 2), and while much of her singing is lovely, she embarasses herself with her inability to perform the vocal acrobatics (a series of closely-spaced trills and sixteenth notes) in "But oh, sad virgin that thy power" w/cello accompagniment,the real gem of this piece. All this being said, I would like now to recommend NOT King's recording (other than Susan Gritton, who is wonderful)since I find fault with Lorna Anderson on the same grounds as Ms. Dawson's vocal profile and I think Paul Agnew's performance borders on the shmaltzy, but rather John Eliot Gardiner's immortal -- if tragically truncated -- 1983 recording. Who is purer and soars higher than Patrizia Kwella? More thrilling than Marie McLaughlin? More dramatic than Jennifer Smith? More warm than Mawldyn Davies? More wonderful than Stephen Varcoe? More masterly than Martin Hill? This is not to say that absolutely everything is perfect (the recording levels seem fishy), but this remains at the pinacle. Also available to you from the folks at Amazon.com!

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