Handel / Orlando

Editorial Reviews
Amazon.com
Orlando has one of those quintessentially goofy Baroque opera plots, but it is partially sustained, at least, by some of Handel's most beautiful arias. Mezzo-soprano Patricia Bardon as Orlando sings well enough in a technical sense, but is on the dull side dramatically. The rest of the cast is more interesting, particularly Harry van der Kamp as the magician Zoroastro, and the sweet-voiced Rosa Mannion as Dorinda. It's really William Christie's show, of course, and his conducting of his talented ensemble is one of the best things about this recording. --Sarah Bryan Miller

Tracks:

Miserere
Stabat Mater
Spem In alium
Sancte Deus
Ave verum corpus
Gloria in D Major, RV 589: Gloria in excelsis deo
Gloria in D Major, RV 589: Et in terra pax
Gloria in D Major, RV 589: Laudamus te
Gloria in D Major, RV 589: Gratias agimus tibi
Gloria in D Major, RV 589: Propter magnam gloriam
Gloria in D Major, RV 589: Domine Deus
Gloria in D Major, RV 589: Domine Fili unigenite
Gloria in D Major, RV 589: Domine Deus, Agnus Dei
Gloria in D Major, RV 589: Qui tollis peccata mundi
Gloria in D Major, RV 589: Qui sedes
Gloria in D Major, RV 589: Quoniam tu solus Sanctus
Gloria in D Major, RV 589: Cum Sancto Spiritu

Tracks:

This Is The Record Of John
Motet: Jesu, Priceless Treasure, BWV 227: Chorale: Jesu, Priceless Treasure
Motet: Jesu, Priceless Treasure, BWV 227: Chorus: So There Is Now No Condemnation
Motet: Jesu, Priceless Treasure, BWV 227: Chorale: In Thine Arm I Rest Me
Motet: Jesu, Priceless Treasure, BWV 227: Trio: Thus Then, The Law Of The Spirit Of Life In Christ Abiding
Motet: Jesu, Priceless Treasure, BWV 227: Chorus: Death, I Do Not Fear Thee
Motet: Jesu, Priceless Treasure, BWV 227: Chorus: Ye Are Not Of The Flesh
Motet: Jesu, Priceless Treasure, BWV 227: Chorale: Hence With Earthly Treasure
Motet: Jesu, Priceless Treasure, BWV 227: Trio: If Therefore Christ Abide In You
Motet: Jesu, Priceless Treasure, BWV 227: Chorale: Fare Thee Weel That Errest
Motet: Jesu, Priceless Treasure, BWV 227: Chorus: If By His Spirit
Motet: Jesu, Priceless Treasure, BWV 227: Chorale: Hence All Fears And Sadness
The Anthems For The Coronation Of King George II And Queen Caroline, HWV 258-261: Zadok The Priest
The Anthems For The Coronation Of King George II And Queen Caroline, HWV 258-261: My Heart Is Inditing
The Anthems For The Coronation Of King George II And Queen Caroline, HWV 258-261: Kings' Daughters
The Anthems For The Coronation Of King George II And Queen Caroline, HWV 258-261: Upon They Right Hand
The Anthems For The Coronation Of King George II And Queen Caroline, HWV 258-261: Kings Shall Be Thy Nursing Fathers
The Anthems For The Coronation Of King George II And Queen Caroline, HWV 258-261: Let Thy Hand Be Strengthened
The Anthems For The Coronation Of King George II And Queen Caroline, HWV 258-261: Let Justice And Judgement
The Anthems For The Coronation Of King George II And Queen Caroline, HWV 258-261: Alleluia
The Anthems For The Coronation Of King George II And Queen Caroline, HWV 258-261: The King Shall Rejoice
The Anthems For The Coronation Of King George II And Queen Caroline, HWV 258-261: Exceeding Glad Shall He Be
The Anthems For The Coronation Of King George II And Queen Caroline, HWV 258-261: Glory And Great Worship... Thou Hast Prevented Him
The Anthems For The Coronation Of King George II And Queen Caroline, HWV 258-261: Alleluia

Average customer rating:

clear as a bell
Renee Fleming...somewhat out of her depth
Handel sung with gusto and wit
Very disappointing Handel recital
Brava Renee!!!

Handel
Renee Fleming , Harry Bicket , Orchestra of the Age of Enlightenment , and George Friedrich Handel
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Renee Fleming: By Request

ASIN: B0002SZVV8
Release Date: 2004-09-14

Tracks:

Oh Sleep, Why Dost Thou Leave Me?
Endless Pleasure
Scoglio D'Immota Fronte
Quando Spieghi I Tuoi Tormenti
Ombra Mai Fu
To Fleeting Pleasures Make Your Court
Lascia Ch'io Pianga
Dunque, I Lacci D'un Volto...Ah! Crudel
Let The Bright Seraphim
V'adoro, Pupille
Da Tempeste Il Legno Infranto
Ritorna, Oh Caro E Dolce Mio Tesoro
Sommo Rettor Del Cielo...D'una Torbida Sorgente
Pensieri, Voi Mi Tormentate
Bel Piacere E Godera Fido Amor!
Calm Thou Soul...Convey Me To Some Peaceful Shore

Amazon.com

Those who may have feared that Renée Fleming might approach Handel with a too-Romantic vocal attitude need not have; whether it's the leadership of the sympathetic, historically informed Harry Bicket, the sound of the spare but warm Orchestra of the Age of Enlightenment, plain good sense and musicianship, or any combination of these, here she offers sixteen arias in almost-impeccable Baroque fashion. I doubt whether sopranos of Handel's age had voices as plush as Ms Fleming's but she manages to keep her tone as light and as airy as possible in these selections, never leaning or swooping into an accompanying note in an "un-Baroque" manner, and the result is simply ravishing. The voice, of course, is almost unbelievably beautiful and agile, the technique impeccable, complete with a trill unmatchable in any soprano singing today. From the long-breathed lines of "O sleep why dost thou leave me" from Semele to the fireworks in Cleopatra's "Da tempeste…," with stops along the way at the famous "Ombra mai fu" and a complete rarity from the composer's Lotario, this CD is just breathtaking. Brava Fleming--and bravo Harry Bicket! Oh, yes--bravo Handel! --Robert Levine

Customer Reviews:

clear as a bell.......2007-02-16

Renee Fleming is one of the most talented female vocalists around. She has such a beautiful, crystal clear voice, and she sings every song on this album well. As a singer myself, I definitely look up to her and very much admire the tone, quality, power, and range of her voice. I would definitely reccommend this album to anyone who enjoys classical music or is looking for someone to aspire to.

Renee Fleming...somewhat out of her depth.......2006-10-20

While it's not the most thrilling Renee Fleming album in the catalogue, her interpretations of Handel pieces is quite an accomplished feat, but when compared to her earlier efforts, rings hollow with it's lack of emotion. As other reviewers have noted, Ms Fleming does not sound like she is in complete grasp of the material, and her performance lacks any real depth or dramatic weight.

Perhaps the pieces of Handel aren't completely flattering to her style, or the mood in the recording studio might not have been exactly right...a million things might have happened to dull this album's power. I have listened to this album a couple of times now, and I'll keep it in my collection, but this one is for the die-hard Renee Fleming fans.

[Decca /Universal 475 547-2]

Handel sung with gusto and wit.......2005-12-07

I am utterly in love with Renee Fleming's voice and I am very glad that she returned to her roots in this luminous Handel Recital. While her fioritura is not as excellent as Sutherland's she surpasses the Australian with her sincerity and sense for drama. Not one word is sung without attention, her silken voice sound absolutely radiant here. I also noticed that she is singing more precisely and elegantly here, giving Handel a dignified elegance, yet passion that it hasn't had since Ferrier (Who was an alto but she still reigns supreme). It is definitely a step in the right direction. Brava Miss Fleming!

Very disappointing Handel recital.......2005-10-30

This recital is mostly very bland and boring, with Fleming's Baroque vocal technique lacking in many ways.
The slow, languid arias like the opening "Oh Sleep" are too drawn out, without any character. The fast acrobatic arias show lack of agility, and poorly executed and overdone ornamentation. Fleming's heavy, laboured coloratura seems ill fitted for these selections. "Scoglio d'immota" in particular is very bad. Her leaps "from stone to stone" in this aria are proceeded by something of a bellow before each note. Fleming's rthythmic waywardness is also very evident in many tracks, and her diction is very indistinct. In English tracks she prounounces vowels in such bizarre ways, her singing of "endless laav" made me laugh and her Italian in "Quando spieghi" is just awful.
Fleming's "Ombra Mai Fu" lacks any character, tenderness, not to mention the missing recitativo. Lorraine Hunt's infinitely superior version should not be even compared to this one. And "Lascia ch'io pianga" is just so over the top, it sounds like a crossover track without the beat. Even Angela Gheorghiu's soppy but honest singing of this piece beats Fleming's interpretation.
"Let the Bright Serephim" has very serious tempo and scooping issues; Kiri Te Kanawa's unremarkable but pleasant enough version is better. "V'adoro pupille" is another drawn out, overtly sentimental aria. And in "Da Tempeste" Fleming sings the runs as it was jazz (?) music, it's strange, and the da capo part is so over the top. This aria is a total mess.
I have to admit I have problems listening to this album as a whole, midway through I just could not tolerate it any more. When I finally listened to the rest of this album, I liked it even less. The last track, Peaceful Shore is again so bland and pointless. I was just glad to be at the end of this recital.
As many people pointed out, even the accoustics of this recording are not good. The Orchestra of Enlightment plays just fine, but it makes little difference. With so many wonderful recent Handel recitals to choose from (Hunt, Bayrakdarian, Conolly, classics like Kirkby, Battle's Baroque Duets...) I think this is the one to skip.

Brava Renee!!!.......2005-09-28

This album is truly amazing. Renee has such a way with music from the Baroque era. She didn't over Romanticize the music. She lightened her voice perfectly for Handel's arias. The Giulio Cesare arias are incredible, and Endless Pleasure from Semele is astounding. Once again Brava!!

Handel Operatic Duets ~ Amor e gelosia / Ciofi · Di Donato · Il Complesso Barocco · Curtis

Average customer rating:

Stellar Singing
From still waters to fireworks in baroque singing - Duets sung exquisitely
Supreme Handel Duets Lack Dramatic Context But Still Lovely
A feast
A sumptuous feast of Handel

Handel Operatic Duets ~ Amor e gelosia / Ciofi · Di Donato · Il Complesso Barocco · Curtis
George Frideric Handel , Patricia Ciofi , Joyce Di Donato , Alan Curtis , and Il Complesso Barocco
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Vivica Genaux - Handel/Hasse: Opera Arias

ASIN: B0001CTKD0
Release Date: 2004-06-01

Tracks:

Caro Amico Amplesso!
Scherzano Sul Tuo Volto
Non Ti Basto, Consorte/Io T'abbraccio
Mio Diletto, Che Pensi?/Sol Per Te, Bell'idol Mio
Per Le Porte Del Tormento
Del Destin Non MI Lagno/Caro, Tu M'accendi
Amarilli?/Amarilli? Oh Dei! Che Vuoi?
Vivo Senz'alma, O Bella
Finche Prendi
Perfidi! Ite Di Poro/Se Mai Piu Saro Geloso
Macedoni Guerrieri/Se Mai Turbo Il Tuo Riposo
Sinfonia To Act 3
Gran Pena E Gelosia!
Lode Agli Dei/Se Mai Turbo Il Tuo Riposo
Alma Mia, Dolce Ristoro
Ricordati, Mio Ben
Addio, Mio Caro Bene

Amazon.com

In baroque opera, the spotlight was usually reserved for the bravura arias, designed to show off the singers' brilliant coloratura and skill in improvising ornamentation. The ensembles, on the other hand, were left to languish in the shadows. This record aims to right that wrong in a program of 17 duets drawn from 13 mostly unfamiliar Handel operas. In an attempt to create some cohesion, these primarily short selections are arranged under the heading "Love and Jealousy," with love predominating and usually prevailing. If the title sounds a bit gimmicky, never mind: the music's the thing and it is wonderful. Expressed with Handel's inimitable dramatic intensity and deeply felt inwardness, it encompasses every amorous emotion from tenderness, ardent protestation and rapturous joy to fear of loss, anguish and mournful farewell, using an infinite variety of form, texture and character. Some duets begin with a recitative; the voices separate and unite, conversing, interweaving, joining in imitation or harmony. The orchestra, a period-instrument group of soloists, provides introductions, interludes and postludes which set mood and atmosphere and contribute greatly to contrast and diversity. The performances are splendid. The two singers prove that the duet is as fertile a vehicle for virtuosic display as any aria, and they find plenty of opportunities for ornamentation in the da capos. Their voices can blend and merge as well as remain distinctly individual in timbre and color, and they succeed in creating, or at least suggesting, situations and personalities even in the shortest selections. The playing is impeccable: rhythmically crisp and pungent, texturally transparent, and very expressive. The only cavil is that the selections often follow each other without a pause, making it difficult to be sure where one ends and the next begins. --Edith Eisler

Customer Reviews:

Stellar Singing.......2007-01-04

I must admit that, before becoming a dedicated Joyce DiDonato fan, I probably wouldn't have purchased a CD of Handel duets, or any Baroque duets for that matter. Like other reviewers have observed, the duets are performed out of dramatic context. I also prefer the full opera, particularly when it comes to Handel.

In the case of this CD, who cares? This is literally some of the loveliest Baroque ensemble singing I have ever heard. The pairing of Joyce DiDonato with Patrizia Ciofi was a stroke of brilliance. Their voices match perfectly. Their intonation is spot on, all the time. Their ornamentations, particularly the da capo ornamentations, are intelligently selected and brilliantly executed. The balance is just right between the singers and the chamber musicians.

I have a big thanks to give to Virgin Veritas and these two wonderful artists for this CD. It will get lots of play in my home.

Highly recommended.

From still waters to fireworks in baroque singing - Duets sung exquisitely.......2005-11-28

Handel was a master of his medium - his music paints with elegance and soul-stirring emotion upon the canvas of the human heart. His duets often exhibit particular indebtedness to Steffani (truly a genius of duet writing), and they are gorgeous duets indeed!

I note that some other reviewers quibble with a) duets only on this recording; and b) a sense of disjointedness.

Addressing both of those issues, let's admit that any recital disc is going to give some disjointedness in the absolute and literal sense. To take a portion of an opera out of its setting and perform it separately is a sort of amputation, be it an album of arias OR an album of duets. Should singers then avoid putting out solo recordings of Handel arias? I find no reason to come to THAT conclusion - and for the same reason, I have no quarrel at all with the recording of an album of Handel duets.

Of course, to enjoy Handel to the fullest degree, do get full recordings as well... but even in Handel's time, singers would pull specific bits of their roles out of context, perform them separately... so it's a time-honoured practice! Let us simply enjoy the high standard of the music without worrying about context in any recording of arias, duets, trios, or operatic scenes.

Handel's duets vary so much in their shape, melodies, harmonies, rhythms - there's plenty of variety. It comes down to a question of the singers involved having suitable voices, singing appropriately for the style, the playing of the orchestra, and the particular variety of duets chosen.

On all points, this album scores highly! Both Ms Ciofi and Ms Di Donato have beautiful voices, clearly trained in baroque singing, and they have equally clearly put in a lot of work to achieve a lovely blend and similar approach within these duets. What a joy to hear gifted singers perform these duets with such intelligence, emotional involvement and lovely, lovely tone!

This recording is a favourite of mine - not just because I perform many of the duets on this CD with another soprano, but because I am genuinely delighted to hear appropriately performed Handel singing in a duet album. I've found fault with some other duet albums because I consider them under-rehearsed, insufficiently blended, and inappropriately embellished - but this album shows none of those faults, and I am very happy to recommend it highly and without reservation. Beautiful singing, beautiful works - you can scarcely wish for more!

Supreme Handel Duets Lack Dramatic Context But Still Lovely.......2005-01-08

I was fortunate to see and hear Renée Fleming and the astounding David Daniels sing "Io t'abbraccio" together in the magnificent Stephen Wadsworth production of Handel's "Rodelinda" at the Metropolitan Opera last week. There is nothing here that can match the ethereal quality and overwhelming melancholy of that duet performance, but sometimes this recording comes pretty close under the masterful baton of Alan Curtis. Soprano Patrizia Ciofi and mezzo-soprano Joyce Di Donato blend quite well together with Ciofi's often fiery coloratura floating easily over the verses and Di Donato's contrasting darker, fuller tone.

It's a nice idea to make a disc of just Handel duets but also a bit risky since they usually represent the major dramatic highpoints of his operas, mostly coming at the end of an act or of the entire opera. Given that fact, one would think there would be plenty of exhausting dramatic fireworks by providing one duet after another. In fact, the higher profile duets, such as the aforementioned "Io t'abbraccio" and the equally famous "Scherzano sul tup volto" from "Rinaldo", feel a bit lackluster probably because their gorgeous music crowns the end of scenes full of tension and drama. The joy in hearing two characters sing together, especially after hearing each of them express their individual sentiments, acts as a catharsis. But here the duets become lovely moments partially robbed of their dramatic impact because the organic synthesis of character and music is lost. Certainly it's not easy to deliver a recital containing only music that Handel devised for key dramatic moments. Yet, it more often does work here perhaps because there are a treasure trove of little-known gems such as "Caro, tu m'accendi" from "Faramondo", "Se mai turbo il tuo riposo" from "Poro" and "Alma mia, dolce ristoro" from "Admeto". The performances really become more like chamber music pieces, almost understated and always tasteful. Toward that end, the singing is expressive and stylish as Ciofi and Di Donato play lovers who quarrel and console in these duets. Together they bring this recording to a consistently high level regardless of the dramatic shortcomings, and their emotional availability makes their unified voices all the more resonant as they get lost in each other.

A feast .......2004-09-28

The programme maybe disjointed, but it doesn't matter, because the singing is some of the most glorious I have EVER heard. A shining feast of articulation, phrasings and harmonies, heavenly executed by Ms Ciofi and Ms Di Donato.

Just buy it for an unparalleled vocal chord experience; marvel at the singing. Any other considerations are entirely oblivious.

A sumptuous feast of Handel.......2004-08-04

Alan Curtis has here chosen to bring to life some of the more memorable duets of Handel's many operas. Quite apart from chewing over some of the more well-known operas he has chosen some duets from Silla, Sosarme (Per le porte del tormento), Faramondo, Atalanta, Poro and Muzio Scevola, few of which have had decent recordings in the last number of years.

His band is small, one player per part, withe the resultant effect rather to make the duets seems like chamber music. There is a danger in that with duets such as Io t'abbraccio (end of Act 2 Rodelinda) taken out of context that the dramatic moment of the music would be lost. However, by arranging the duets in a sequence (as Curtis writes in the notes) from love's joy through self-doubt and jealousy, back to undying love, the duets out of context sound superb.

Both singers, Patrizia Ciofi (Soprano) and Joyce di Donato (Mezzo) sound thoroughly at home in the idiom of baroque opera, and in fact their cadenzas and ornamentation are delightfully understated, rather than the sort of shrieking 'I can go higher still' of some more lauded performers. I look forward to Curtis' forthcoming recordings of Lotario, Rodelinda and Radamisto, if these performers are to be retained.

In short this is a delightful enterprise showing the genious of Handel in dealing with the most basic of human emotions - love and jealousy. Well done Alan Curtis!

Average customer rating:

Thoroughly entertaining sample of five fine young artists

A Night At The Opera

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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ASIN: B00030B9CU
Release Date: 2004-11-16

Tracks:

Un Di, Se Ben Rammentomi
Parto, Parto, Ma Tu Ben Mio
Quel Trouble Inconnu Me Penetre?
Alerte, Alerte, Ou Vous Etes Perdus!
Vecchia Zimarra, Senti
La Ci Darem La Mano
Son Io, Mio Carlo
O Carlo, Ascolta, La Madre T'aspetta
Barcarolle
Sorge Infausta Una Procella
Arise, Arise Ye Subterranean Winds
Vanne... Lasciami, Ne Timor Di Me Ti Prenda...
Au Fond Du Temple Saint
Seien Wir Wieder Gut!
Avete Torto! E Fine! Astuto...
Suoni La Tromba, E Intrepido

Album Description

A Night At The Opera features five young singers who have already made considerable names for themselves. The soprano Indra Thomas has been acclaimed as the next great Verdi soprano, while the mezzo-soprano Kristine Jepson has enjoyed great success in the key role of Octavian at the New York Met, in addition to other roles there and throughout Europe and America. The lyric tenor Matthew Polenzani's international career also includes appearances at the Met in a varied and challenging repertoire. The Polish baritone Mariusz Kwiecien's operatic appearances have included the Met and the Vienna State Opera, with a number of distinguished awards, and the prize-winning bass-baritone Valerian Ruminski boasts a particularly wide repertoire in a career of growing distinction. These marvelous talents are backed by the renowned Royal Philharmonic Orchestra, with internationally noted opera conductor Charles Rosekrans.

Customer Reviews:

Thoroughly entertaining sample of five fine young artists.......2005-05-13

I have only a few quibbles about this release, but it really is enjoyable, and repeated listenings have only increased my admiration. The repertoire ranges across much of the operatic spectrum - okay, there's no Wagner, but perhaps that's too much to expect at this point in their careers. Since most of these selections have been recorded by other, established artists, individual comparisons are pointless. The overall impression given by these singers is that of vibrant youth and spontaneous joy in singing. Matthew Polenzani is perhaps the best known of these, and certainly justifies one's attention with some fine tenorizing. If he can't quite pull off the SCHICCHI aria (who has, lately?) he sings a splendid Faust, and there are darn few good ones these days. He's a real pleasure to hear. Since I've heard Indra Thomas live on numerous occasions, I'm thrilled to have her on CDs at last. She possesses a soaring, juicy lyric soprano (unfortunately not all that well captured here - the voice has a gorgeous spin to it, reminiscent of the young Leontyne Price, and that emerges from the recording only occasionally). Ms. Thomas sang the most beautiful and one of the most exciting performances of the TROVATORE Leonora I have ever heard (and I've heard some great Leonoras), and I'm glad to have a memento of it here. Valerian Ruminski, whose bass is exceptionally beautiful and well-focused, is one of the most fluent male exponents of coloratura that I've heard in 50 years of live performances, so I'm delighted to have the Purcell and Handel selections. In addition, he possesses what Walter Legge called "an immediately recognizable timbre" - the voice sticks in the memory. Kristine Jepson and Mariusz Kwiecien also acquit themselves well. My single real reservation about the individual selections is Ms. Jepson's track of the Composer's outburst from ARIADNE ("Sein wir wieder gut!"). In common with many mezzos, she sounds overparted by its high, soaring lines, though she throws herself into with gusto. To my mind, this role really is best sung by a soprano. Nevertheless, Ms. Jepson proves herself adept enough for Sesto and Zerlina. Mr. Kwiecien's robust baritone is a treat to hear in Verdi, and he and Mr. Ruminski sing a wonderful PURITANI duet. The orchestra plays well and while one might wish the conductor was a bit more "accommodating" to the singers, things move along nicely. This really is, on the whole, an invigorating and tuneful evening's worth of entertainment and a promise of fine things to come.

Average customer rating:

Seriously incredible Handel
Stunning Work From One of the Top Handel Interpreters
Outstanding!
Don't overlook this special gem!

Sandrine Piau - Handel Opera Seria
Sandrine Piau , Christophe Rousset , Les Talens Lyriques , and Georg Friedrich Handel
Manufacturer: Astree
ProductGroup: Music
Binding: Audio CD

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ASIN: B000678KLI
Release Date: 2005-01-18

Customer Reviews:

Seriously incredible Handel.......2005-11-15

If you don't like Handel recitals that come with a lot of hype, be warned that this album comes with a heavy load of uniform critical praise, plus raves and adoration of music aficionados. It may not be selling as well as it should, as there is a law in the music business that declares "Handel album without Ombra Mai Fu shall be treated with utmost suspicion" but just look at the reviews here. In the press, this CD has been called astonishing, amazing, peerless, superb, blah blah blah and also the "best Handel aria recording ever made by a soprano." Hyperbole aside, does it live up to the hype? It doesn't just live up to it, it walks all over it. I have had this album for months, but every time I try to write something about it, I end up listening to it over and over again, instead of writing about it.
Piau's voice is light, perfectly focused, like a bright laser beam, absolutely even from top to bottom and with incredible high notes. Her technique is perfect, same for breath control. Her speed and impossibly precise runs defy laws of nature. But of course just that would not be enough for stellar Handel performance of this calibre; she is also a gifted actress who is able to show dramatic colours in every single aria. There is not a single track here which is not a fascinating study of the character, and her interpretations are varied and very memorable: Berenice, fiery, defiant, Cleopatra in her mournful lament... To fully credit Piau's interpretive gifts, I would have to list every aria on this CD. And she chooses such great pieces, many seldom heard at all, all arranged in an imaginative, stimulating programme.
I usually have a bone to pick with Baroque ornamentations from the current singers, having been brought up on a steady diet of Emma Kirkby, Julianne Baird and Lorraine Hunt, who not only improvise their ornamentations, but do it so brilliantly. Sandrine Piau joins this illustrious club of the Ornamentators Par Excellence; her ornamentations are written in (largely by Rousset) but they are just glorious.
The Les Talens Lyriques orchestra under Christophe Rousset, Piau's frequent collaborator in live performances, plays great, though if I had one tiny complaint about this album, it would be that laws of physic do mar their performance a little bit: Piau's voice can move faster than these period instruments, and she sometimes whizzes by the orchestra very slightly ahead of them, in the fast arias. This is actually most evident in the fireworks of the opening aria, Scoglio d'immota, but that's only because she takes it at such superhuman speed, they have to play for their life just to stay with her.
Last but not least, I actually like the cover of this album, I think Piau looks cool, like a porcelain doll. Not that this album would be any less awe inspiring if it came wrapped in brown sandwich paper. This is some seriously amazing Opera Seria and if you love Handel's music, this album is an absolute must-have.

Stunning Work From One of the Top Handel Interpreters.......2005-02-20

French soprano Sandrine Piau is not as readily known as other Handelians, at least on this side of the pond, but she is certainly among the most gifted of interpreters as she proves on this wonderful recording of opera arias specifically written for the soprano voice. Even though mezzo-soprano Lorraine Hunt-Lieberson and soprano Renée Fleming have put out superb, higher profile recordings of Handel arias in the past few months, you can still confidently add this one to your collection thanks to Piau's thrilling, expressive vocalism, at once early-music in style with a powerful yet economical use of technique, well-balanced with a wide capacity for accurate coloratura and an immaculate technique sure to please Baroque purists.

Piau displays impeccable taste in her highly personalized program. Instead of going for the more familiar gems like "Ombra mai fú" from "Serse", she has pulled together an anthology of Handelian prime donne that features arias composed over more than two decades. Many are from operas that are relatively obscure but still quite stunning, for example, the defiant "Scoglio d'immota fronte" from "Scipione", the dynamic "Brilla nell' alma un non inteso ancor" from "Alessandro" and the angry, distressed "M'ai resa infelice" from "Deidamia". Even with the better known operas, she choose not the showpieces but the ones that are worthy of rediscovery, such as "Verdi piante, erbette liete" from "Orlando", "Se pieta" from "Giulio Cesare in Egritto", "L'amor ed il destin" from "Partenope" and "Ombre piante, une funeste" from "Rodelinda", in which her painful expressiveness of want certainly gives Fleming a run for her money. Even the order of the program is commendable, as it reflects a wide gamut of emotions that make the recording feel like one cohesive work, even with the variety of characters and dramatic situations and rich vocal demands for which Handel is known. Piau's long-time collaboration with Christophe Rousset, who leads the wondrous and period-authentic playing of Les Talens Lyriques, has produced a seamless rapport that makes this an essential recording. Strongly recommended.

Outstanding!.......2005-02-01

I received this CD a couple of days ago and it has not left my CD player. I was very impressed with her Mozart CD but this one has some fascinating ornamentation and very daring vocal acrobatics. I first heard her in Scipione under Christophe Rousset in 1993 and was very impressed by her contributions. Piau includes the aria "Scoglio d'immota fronte" from Scipione (also on Fleming's Handel disc), this time around showing off her coloratura skills and speed even more than on the complete recording. The rest of the CD is a real treasure of vocal fireworks and beautiful plaintive arias. Highly recommended!

Don't overlook this special gem!.......2005-02-01

It doesn't often happen that a release gets so much unanimous enthusiastic praise from both critics and audiences alike, particularly if the release is from an independent company and the singer is not a heavily promoted "star". But here it is - Sandrine Piau's Handel recital on Naive seems to be outshining many vocal releases of the past year (it was released in 2004) and the reason for this stir is simple: it is a stupendous disc from a great singer who deserves a wider recognition.

Everything is special here, even the cover. In an era when so many solo recitals try to attract us through flashy covers (and often not much more inside), Piau is courageous enough to appear in what may well be one of the most unflattering cover photos ever made. Through this photo, Piau seems to be making a bold statement: "I am not a cover girl, I am an artist".

And what an artist! Every phrase in this recital is delivered with utmost honesty and spectacular technical assurance, nothing is calculated or contrived. What is even more important, every Handelian heroine portrayed here is vividly brought to life. There is not a moment of monotony or routine - the selections cover a variety of moods and allow the artist to display not only her stupendous technique but also phenomenal interpretative gifts.

It is impossible to get tired of Piau's singing! Her voice and singing style should appeal to both camps of opera lovers: devotees of the HIP movement and those who are afraid of HIP because of the stigma of "white, bland voices" that became a trademark of the movement. Piau's voice is small and delicate, but there is nothing "white" or bland about it. It is a gorgeous instrument, flexible and colourful, able to convey a wide range of emotions without resorting to "special effects".

It is of course tempting to compare Piau's recital with the other highly popular Handel discs of 2004 (by Lorraine Hunt, Sarah Connolly, Renee Fleming) but comparisons don't really make much sense here for each of those recitals has its own virtues and each singer her own faithful audience. Yet Piau's disc risks being overlooked in the USA since the French soprano is not quite a household name here (in spite of some marvellous solo recitals in her discography). Let's hope this fantastic new disc will change this. (Kicek)

Ewa Podles - Handel Arias from Rinaldo & Orlando

Average customer rating:

Madame fait la grosse voix...
I am contralto, hear me roar!
What Bravura Arias!
Contralto/Coloratura--An Amazing Voice! A Great Singer!
From the San Francisco Chronicle

Ewa Podles - Handel Arias from Rinaldo & Orlando
George Frideric Handel , Constantine Orbelian , Ewa Podles , and Moscow Chamber Orchestra
Manufacturer: Delos Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Arias | Opera & Vocal | Styles | Music

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Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music
Similar Items:

Ewa Podles - Rossini Arias for Contralto
Ewa Podles · Russian Arias
Rossini - Tancredi / Podles, Jo, Olsen, Spagnoli, di Micco, Lendi, Zedda
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Ewa Podles - Airs célèbres (Famous Arias)

ASIN: B000056T8X
Release Date: 2001-01-16

Customer Reviews:

Madame fait la grosse voix... .......2005-09-25

Bon, tant qu'à faire, il faut le dire tout de suite : Ewa Podles a une voix somptueuse. Un rien engorgée, mais somptueuse. Son aigu est renversant, son grave ne l'est pas moins (quand elle ne s'évertue pas à dépasser le fa grave). Ce qui la rend incournable chez Rossini, encore que son allure de Baba Yaga conviendrait mieux au personnage de Ulrica dans le Bal Masqué qu'à Isabelle dans l'Italienne à Alger... Mais chez Handel, est-ce bien le propos que de rouler sans cesse des mécaniques, et gromeler des graves de baryton à tout va ? Et les variations, piquées sans scrupule à Marilyn Horne pour la plupart des airs... Est-ce bien honnête ? Elle remercie d'ailleurs un célèbre claveciniste pour l'avoir aidée dans la composition des da capos, ce qui est très gentil de sa part... Un bon disque en somme, surtout si vous aimez les belles et bonnes voix bien grassouillettes, mais dans ces mêmes airs nous avons eu droit a des interprétations un peu plus habitées.

I am contralto, hear me roar!.......2004-12-28

This disc of arias from two of Handel's finest operas is a good introduction to Ewa Podles, heir apparant to the Marilyn Horne throne. It highlights both her strengths and weaknesses.

On the plus side: a formidable coloratura technique, good breath control, comfort above the staff, and no thin/pinched notes.

On the minus side: a voice that is rather soft-grained (which makes her sound plush in Rossini, but doesn't really do Handel justice), occasional pitch problems, a lack of incisiveness, and lack of mellifluousness in some of the slower passages (especially in the Orlando arias).

In the CD booklet, Podles is qouted as desiring a "flesh and blood" interpretation of these arias. For sure, these are not simpering, fussy renditions. However, her choice of delivery and ornamentation sometimes runs afoul. In the opening aria, the well-known Venti, Turbini from Rinaldo, Podles attacks the coloratura runs that give countertenor David Daniels so much trouble (all he can do is bluster through them.) Unfortunately, she ends the aria by leaping ackwardly into a rather ugly-sounding low note that is held "in alt" for a several seconds.

Ogni Indugio suffers a similar fate. For all that she lavishes it with wonderful phrasing, pacing, and emotion, she ruins it with another ugly low note that sounds like it was sung by an orc from Lord of the Rings.

Fans of Handel will warm to Podles' bravura, or not. If you like knock-your-socks-off delivery from a powerhouse contralto, you will relish Il Tricerbero Umiliato, from Rinaldo, as well as Cielo, Se Tu Il Consenti, from Orlando. Especially the latter, which is as tempestous as you can possibly imagine. However, if you fancy something more restrained and conventional, well, pick your favorite countertenor.

As for Orbelien's conducting, you will also warm to it, or not. This isn't finely-nuanced playing on period instruments. However, he conducts with lots of heart, and the orchestra is never anemic-sounding.

Despite the occasional laspse in technique or taste, I really recommend this collection of arias to all lovers of baroque opera.

What Bravura Arias!.......2002-12-02

This recording eclipses Haendelian recordings by other singers, even the earlier recordings of Ms. Podles herself. I'm taken by her timbre and command, and of course her incredible vocal range. Ms. Podles is now definitely more of a "Rinaldo" than "Rosina", a Baroque warrior rahter than a crafty Rossian maiden.

Her virile military mannerism on this CD is remarkable. The coloratura comes from her is fraught with masculine prowess. The baritone-like quality in Ms. Podles's lower register reminds one of no other but the legendary contralto, Marian Anderson.

Only slightly to my disappointment, Ms. Podles' approache to the ending cadenzas is in manner rather off my personal taste; it seems to be more Rossinian perhaps - frequently in some high note. This is truly justified for one who wishes to display her amazing range - so full and substancial. This makes countertenors seem somewhat crippled and on crutches.

Ms. Podles' interpretation of Haendelian operatic arias is irrefutably tour de force and most tasteful of our time, no matter how authentically Baroque one finds it.

Do not miss this one.

Contralto/Coloratura--An Amazing Voice! A Great Singer!.......2002-04-08

Anyone who heard Ewa Podles at Carnegie Hall with Orbellian and the Moscow Chamber Orchestra last year in this repertoire has to be as puzzled as I am about her absence from the Met's roster. As is evident in this excellent recording, Podles singing is always on the edge--it will bring you to attention! Recalling the live concert, some of the arias (Venti turbini, Or la Tromba) bring me to my feet, applauding. Equally exciting is Podles's Rossini CD.

From the San Francisco Chronicle.......2001-10-15

Alan Ullrich of the San Francisco Chronicle (10-17-01): Classic. Ewa Podles' Oct. 21 Hertz Hall recital should be one of the prime vocal attractions of the fall season. The Polish artist is that extremely rare phenomenon -- a genuine contralto of luxuriant tone and bottomless resources. Yet this is not one of those British "Land of Hope and Glory" oratorio-type voices but a true bel canto expert. It's hard even to imagine a voice of this weight scaling the heights and depth of Handel and Rossini coloratura with such nonchalance... Los Angeles-based Delos is focusing on Eastern European singers these days, with fascinating results. The company taped the Handel program at Skywalker Sound last year, concurrent with the Opera House recital given by these musicians. Every cut -- 18 in all -- testifies to Podles' incredible agility, seamless breath control and almost terrifying authority. She's the best reason for not casting these title parts with countertenors.

Average customer rating:

Hymns in the Anglican Tradition Beautifully Performed
Very inspiring music
Great English Hymns
Buy this CD!
English Choirs

Best Loved Hymns
Anonymous , James Bain , Louis Bourgeois , Edmond Budry , Orlando Gibbons , John [composer] Goss , William H. Harris , Herbert Howells , John Ireland , Stephen Jackson , Martin Luther , Edward Miller , Sir Charles H.H. Parry , Clement Cotterill Scholefield , Cyril Taylor , German Traditional , Irish Traditional , Ralph Vaughan Williams , Wallace Collection , Sioned Williams , Benjamin Bayl , Tom Williamson , Choir of King's College at Cambridge , and Stephen Cleobury
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Christian & Gospel | Styles | Music

Wedding Music | Miscellaneous | Styles | Music

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Hymns | Vocal Non-Opera | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music
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Be Still My Soul: The Ultimate Hymns Collection
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ASIN: B000058BGQ
Release Date: 2001-03-27

Tracks:

Michael: A Fanfare Setting: All My Hope On God Is Founded
Praise, My Soul: Praise, My Soul, The King Of Heaven
Bunessan: Morning Has Broken
Down Ampney: Come Down, O Love Divine
Ein' Feste Burg: A Mighty Fortress Is Our God
Regnator Orbis: O What Their Joy And Their Glory Must Be
Rockingham: When I Survey The Wondrous Cross
Repton: Dear Lord And Father Of Mankind
Slane: Be Thou My Vision
St. Clement: The Day Thou Gavest, Lord, Is Ended
Picardy: Let All Mortal Flesh Keep Silence
Hast Du Denn, Jesu: Praise To The Lord, The Almighty, The King Of Creation
Love Unknown: My Song Is Love Unknown
Brother James' Air: The Lord's My Shepherd
Maccabaeus: Thine Be The Glory
Song 46: Drop, Drop, Slow Tears
Abbot's Leigh: Glorious Things Of Thee Are Spoken
The Old Hundredth: All People That On Earth Do Dwell

Customer Reviews:

Hymns in the Anglican Tradition Beautifully Performed.......2007-01-24

This is one more example of hymns in the Anglican Tradition, sung by the always excellent choir of King's College, Cambridge. It is a splendid example of the sonorous sound of men and boys, accompanied by a classic English organ and, for the quieter hymns, the gentle sound of harp. All the familiar hymns and hymn tunes are here. You will not regret adding this CD to your collection.

Very inspiring music.......2005-07-06

I always enjoy listening to this Cd and particularly because of the orchestra and mellifluous choir. I especially enjoy: A Mighty Fortress, Come Down, O Love Divine, Praise to the Lord, the Almighty, and Thine Be The Glory. Some of the selections are soft such as "The Lord's My Shepherd" and "Drop, Drop, Slow Tears." Still, it is a fabulous selection and one of my favorites.

Great English Hymns.......2005-02-10

This was one of my Christmas gifts and I really looked forward to listening to it. I had just visited King's College, Cambridge back in August and really liked it--you should try to make it out there if possible.

Anyway, this CD was great to listen to. Some hymns are scored for orchestral accompaniment, choir and organ, while the majority of tracks are just for choir and organ.

Recorded in the King's College Chapel (the front cover has a great shot of the ceiling's trademark "fan" stone carving), the hymns are pure English sound--boys' treble voices along with men's changed voices singing with a pure, clean, straight tone. It's very sweet-sounding.

The hymns chosen are also great; "Be Thou My Vision," an Irish classic, appears along with "When I Survey the Wondrous Cross," "All People That on Earth Do Dwell," and "Morning Has Broken" (later recorded by Cat Stevens).

The singing isn't especially elaborate--they're just simple hymns. They're orchestrated very well, however, and they sound great.

Religious people may prefer these recordings more in general--these are Christian hymns after all--but I think it's a great recording and is worth listening too, especially if you enjoy that English sound!

Buy this CD!.......2004-09-20

Having heard Kings College Choir twice, in the flesh, at Kings, this CD is a wonderful example of what you might hear. If you can't make it to Cambridge, buy this CD. It contains many of the old favorites and also some hymns that are not found on other English hymn CD's.

English Choirs.......2002-12-18

Having visited many Cathedrals throughout the UK and listened to the enchanting voices of the boys choirs, I was disappointed with this particular rendering from Kings. Perhaps I am biased in that I enjoy the organ background or no background but the use of a full blown orchestra, in my opinion, tended to overwhelm and was totally unnecessary and somewhat grandoise choice on the part of Stephen Cleobury. Apart from that, much of the music was excellent. In comparison with other CD's from Kings, this was disappointing.

Average customer rating:

LOVE IS ONE BIG IMBROGLIO
Okay, I suppose.
UN ýORLANDOý DE ARMAS TOMAR
Un aporte a los amantes de Handel
A real magic

Handel / Orlando
William Christie , Patricia Bardon , Rosemary Joshua , Hilary Summers , Rosa Mannion , Harry van der Kamp , Les Arts Florissants , and Hiro Kurosaki
Manufacturer: Erato
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
Similar Items:

Handel - Alcina / Fleming, Graham, Dessay, Kuhlmann, Robinson, Naouri, Lascarro, Les Arts Florissants, Christie
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Handel: Radamisto
Handel - Ariodante / von Otter, Dawson, Cangemi, Podles, Croft, Sedov, Coadou, Les Musiciens du Louvre, Minkowski
Handel: Rinaldo

ASIN: B000005E4L
Release Date: 1996-10-01

Tracks:

Orlando: Ouvertura: Lentement - William Christie
Orlando: Ouvertura: Allegro - William Christie
Orlando: Atto primo - Scena I: 'Gieroglifici eterni!' - William Christie
Orlando: Atto primo - Scena II: 'Stimulato della gloria' - 'Purgala armai' - William Christie
Orlando: Atto primo - Scena II: 'Lascia amor' - William Christie
Orlando: Atto primo - Scena III: 'Imagini funeste' - William Christie
Orlando: Atto primo - Scena III: 'Non fu gia men forte Alcide' - William Christie
Orlando: Atto primo - Scena IV: 'Quanto diletto avea' - William Christie
Orlando: Atto primo - Scena IV: 'Itene pur tremendo' - William Christie
Orlando: Atto primo - Scena IV: 'Ho un certo rossore' - William Christie
Orlando: Atto primo - Scena V: 'M'hai vinto al fin' - William Christie
Orlando: Atto primo - Scena V: 'Ritornava al suo bel viso' - Scena VI: 'Spera, mio cor' - William Christie
Orlando: Atto primo - Scena VI: 'Chi possessore e del mio cor' - William Christie
Orlando: Atto primo - Scena VII: 'Ecco Dorinda' - William Christie
Orlando: Atto primo - Scena VII: 'Se il cor mai ti dira' - Scena VIII: 'Povera me' - William Christie
Orlando: Atto primo - Scena VIII: 'O care parolette' - William Christie
Orlando: Atto primo - Scena IX: 'Noti a me sono' - William Christie
Orlando: Atto primo - Scena IX: 'Se fedel vuoi ch'io ti credo' - William Christie
Orlando: Atto primo - Scena X: 'T'ubbidiro' - 'Fammi combattere' - William Christie
Orlando: Atto primo - Scena XI: 'Angelica, deh lascia...' - Scena XII: 'O Angelica, o Medoro' - William Christie
Orlando: Atto primo - Scena XII: 'Consolati, o bella' - William Christie

Tracks:

Orlando: Atto secundo - Scena I: 'Quando speighi i tuooi tormenti' - G.F. Handel
Orlando: Atto secundo - Scena II: 'Perche, gentil Dorinda' - G.F. Handel
Orlando: Atto secundo - Scena II: 'Se mi rivolgo al prato' - G.F. Handel
Orlando: Atto primo - Scena III: 'E questa la mercede' - Scena IV: 'A qual rischio' - G.F. Handel
Orlando: Atto primo - Scena IV: 'Tra caligini profondi' - G.F. Handel
Orlando: 'Da queste amiche piante' - G.F. Handel
Orlando: Atto primo - Scena V: 'Verdi allori' - Scena VI: 'Dopo tanti perigli' - G.F. Handel
Orlando: Atto primo - Scena VI: 'Non potra dirmi ingrata' - G.F. Handel
Orlando: Atto primo - Scena VII: 'Dove guidate' _ Scena VIII: 'Tutto a poter partir' - G.F. Handel
Orlando: Atto primo - Scena VIII: 'Verdi piante' - G.F. Handel
Orlando: Atto primo - Scena VIII: 'Ah! perfida' - Scena IX: 'Ohime! che miro?' - Scena X; 'Amor, caro Amore!' - G.F. Handel
Orlando: Atto primo - Scena XI: 'Ah! stigie larve' - G.F. Handel
Orlando: Atto primo - Scena XI: 'Gia latra Cerbero' - G.F. Handel
Orlando: Atto primo - Scena XI: 'Vaghe pupille' - G.F. Handel

Tracks:

Orlando: Atto terzo - Scena I: Sinfonia - 'Di Dorinda alle mura' - G.F. Handel
Orlando: Atto terzo - Scena I: 'Vorrei poterti amar' - G.F. Handel
Orlando: Atto terzo - Scena II: 'Pu obligat gli sono' - Scena III: 'Pur ti trovo' - G.F. Handel
Orlando: Atto terzo - Scena III: 'Unisca amor in noi' - G.F. Handel
Orlando: Atto terzo - Scena III: 'Gia lo stringo' - G.F. Handel
Orlando: Atto terzo - Scena IV: 'Di Dorinda all'albergo' - G.F. Handel
Orlando: Atto terzo - Scena IV: 'Cosi giusta e questa speme' - Scena V: 'S'e corrisposto un core' - G.F. Handel
Orlando: Atto terzo - Scena V: 'Amor e qual vento' - G.F. Handel
Orlando: Atto terza - Scena VI: 'Impari ogn'un da Orlando ' - 'O voi, del mio poter' - G.F. Handel
Orlando: Atto terzo - Scena VI: 'Sorge infausta une procella' - G.F. Handel
Orlando: Atto terzo - Scena VII: 'Dorinda, e perche piangi' - Scena VIII: 'Piu non fuggir potrai' - G.F. Handel
Orlando: Atto terzo - Scena VIII: 'Finche prendi ancor il sangue' - G.F. Handel
Orlando: Atto terzo - Scena VIII: 'Vienil' - 'Gia per la man d'Orlando' - G.F. Handel
Orlando: Atto terzo - Scena VIII: 'Gio l'ebro mio ciglio' - G.F. Handel
Orlando: Atto terzo - Scena IX: 'Ecco il tempo prefissol' - 'Tu, che del gran Tonante' - G.F. Handel
Orlando: Atto terzo - Scena IX: 'Dormo ancora' - G.F. Handel
Orlando: Atto terzo - Scena IX: 'Per far, mia diletta' - G.F. Handel
Orlando: Atto terzo - Scena ultima: 'Orlando si mora' - 'Vinse In canti' - G.F. Handel
Orlando: Atto terzo - Coro: 'Trionfa oggi'l mio cor' - G.F. Handel

Amazon.com

Orlando has one of those quintessentially goofy Baroque opera plots, but it is partially sustained, at least, by some of Handel's most beautiful arias. Mezzo-soprano Patricia Bardon as Orlando sings well enough in a technical sense, but is on the dull side dramatically. The rest of the cast is more interesting, particularly Harry van der Kamp as the magician Zoroastro, and the sweet-voiced Rosa Mannion as Dorinda. It's really William Christie's show, of course, and his conducting of his talented ensemble is one of the best things about this recording. --Sarah Bryan Miller

Customer Reviews:

LOVE IS ONE BIG IMBROGLIO.......2007-05-15

It says that in Act III scene 5. In case the statement needs substantiation, the plot is as follows. Orlando is warned off love and advised to follow warlike pursuits by the wizard Zoroaster. His first entrance shows him pursuing a princess named Isabella, but to rescue her from something, not for amorous reasons, and she never sings a note from beginning to end. Meantime a Chinese queen called Angelica is shown in love with an African prince named Medoro, but Orlando seems to feel that he has some prior claim on Angelica. A bigger role than either that of Medoro or of Angelica is taken by a shepherdess Dorinda, the very type of the Deserted Shepherdess having been spurned by both Medoro and Orlando, apparently. Orlando is for some reason driven mad by finding out about Angelica and Medoro, and either visits or thinks he visits the infernal regions of Greek legend, returning in a state of continuing mental confusion in which he mistakes both Angelica and Dorinda for other women previously unmentioned. He tries to destroy both Medoro and Angelica, but they turn out to have been saved by the wizardry of Zoroaster, and everyone ends reconciled to situation that led to all the fuss in the first place. No wonder Gluck felt that opera was in need of reform.

Nonsensical though it may be, this kind of stagy drama with its story-book characters and its over-the-top situations has a kind of consistency and integrity of its own. It quite obviously lends itself to operatic treatment, this was the high watermark of the style, and the composer after all is Handel. A lot is lost from the lack of stage-effects (such as mountains being made to disappear at the wave of Zoroaster's wand), and listeners to it in sound alone need a clear idea of what style of interpretation they think most appropriate. Demureness in the performing style would be ridiculous, surely, the issue is more a matter of how much hyperbole one wants. Act II ends with Orlando's mad scene and his real or imaginary visions of the underworld, and some listeners will want more staginess than we find here. Myself, I like it well enough as Patricia Bardon and William Christie choose to do it. Handel whips up the frenzy towards the end, but the earlier sequence is largely quiet and bewildered, and the purely musical effects, such as the use of 5/8 metre (for the first time in musical history, I believe) do the job without any hamming it up by the performers. In general, I'd say, when we're in sound alone it's best to err on the side of the musical rather than on the side of the over-dramatic, and it's the sheer distinction of the musicianship that leads me to be as enthusiastic about this Orlando as I am. The singing is simply superb, both in technique and in the beauty of the vocal tone from all five participants. In particular I should draw attention to the trio that ends Act I, which to my ears is a thing worthy to stand with the trio in Rosenkavalier itself.

The direction and the casting get top marks from me as well. One of my reasons for choosing this set of Orlando in preference to its formidable rival in the catalogues is simply that I already own plenty of the latters' work. Rather than have all my meals prepared by the same chefs I decided to take a chance, and I don't feel I've gone wrong. On the face of it, this is not one of Handel's more spectacular scores, and there is no fancy orchestration. On the other hand William Christie has a superb ability to put across the adroitness, fluency and resourcefulness of the composer's style that overawed Haydn in the later phase of his own great career, and that had Beethoven pronouncing Handel the greatest composer who ever lived. There is a real magician at work here, and it is not Zoroaster. In respect of the casting, I myself tend to be more at home with women altos rather than countertenors however eminent, and so this issue suits me from that angle too. The four women's voices are beautifully contrasted, they combine superbly in the wonderful trio at the end of the first act, and Harry van der Kamp's magnificent bass sets the final seal on it for me.

The recorded quality seems just fine to me, the orchestral playing is a model of comprehension of the musical idiom, and even the secco recitatives are done with real grace, avoiding the impression that harpsichords so often give of being bird-cages played with toasting-forks. There is a multilingual liner, with the English version of the libretto interestingly provided by Samuel Humphreys, himself one of Handel's oratorio librettists. The background essay is quite good and helpful in addition.

As I have said, there is real magic here, even without any signs and wonders in the visible staging. A strong contender, whatever the competition.

Okay, I suppose. .......2007-03-22

If the Christopher Hogwood/Academy of Ancient Music recording of this work, featuring James Bowman in the title role, didn't exist, this would be clearly the best recording of this work available. However, it does and, try as I have, I simply cannot get into this recording. On every level, the Hogwood recording is superior. Take the role of Orlando, for instance. Christie has Patricia Bardon, who sings the role very nicely, to be sure, yet she is not a patch on James Bowman when it comes to communicating the drama. I have listened to Patricia Bardon's and James Bowman's interpretations in some detail, comparing them back to back and playing them to my friends. In every aria, James Bowman is preferable, hands down.

However, Christie's recording is very, very pretty and stylish. He has some fabulous singers, like Rosa Mannion and Rosemary Joshua, two of the most beautiful young women and beautiful voices in the field of Baroque music. Rosemary Joshua has recently revisited her role of Angelica in a production with David Daniels in the title role. I only hope that production makes it to DVD.

People who don't like countertenors will prefer Les Arts Florissants' very "pretty" recording of Orlando, but know that the Hogwood recording of this work with the great James Bowman in the title role is vastly superior, drama-wise. In the mad scene, Ms Bardon seems merely distracted, in contrast with Mr. Bowman, who seems genuinely out on the edge.

The orchestras, on period instruments in both recordings, are utterly fabulous and colourful.

UN ýORLANDOý DE ARMAS TOMAR.......2003-04-16

Para esta visión handeliana de la historia del paladín Orlando, Christie se pertrechó de un magnífico conjunto vocal liderado por la soberbia Patricia Bardon en el papel protagónico. La mezzosoprano tiene la voz ideal para el personaje y lo dota de un carácter y energía realmente impresionantes. Sus lecturas de las arias de bravura "Fammi combatere" y "Cielo!" son magistrales, y su escena de la locura, sencillamente antológica. Los papeles de las primadonnas estan servidos aquí de manera deliciosa por las voces de Mannion y Joshua, ambas con hermosas voces y buena técnica. El caballero Medoro tiene en Hilary Summers una interprete ideal. Su aria "Se il cor mai ti dirá" está cantada destilando pasión en cada nota y el trio con las sopranos "Consolati o bella" es de lo mejor de la grabación. Remata el quinteto el Zoroastro de Harry Van der Kamp virtuoso y pletórico de voz. Apoyados por la cuidadísima dirección del norteamericano y la intervención siempre precisa de su orquesta "Les Arts Florissants", esta es sin duda una grabación que no se debe perder.

Un aporte a los amantes de Handel.......2001-03-02

La versión de Orlando que nos presenta "Les Arts Florissants" destaca por la pureza de sonido tan propia del autor. Son excelentes los aportes de Patricia Bardon en el rol de Orlando con arias brillantes como "Stimullato dalla Gloria" y "Non fugiar men forte Alcide"; Harry van der Kamp con un registro prudente y cuidado encanta al auditor y por cierto W. Christie mantiene la perfección de sus intrepretaciones. Creo que Orlando es un gran acierto de Erato.

A real magic.......2000-12-23

This is one of the best issues from Erato in 90th. There are no stars in this recording, but, my God, what amazing singing! The feeling of Handel'music by singers is perfect, ane everyone is ideally suited to the character. The silky sweet soprano of Rosemary Joshua (Angelica) is well contrasted by voice of Rosa Mannion (Dorinda), who brings agility and charm to the opera. Hilary Summers is a true Medoro. And of course, mad Orlando, sung by sweet-toned Patricia Bardon, is a delight. Handel would be very glad for such a cast. Well done, Christie!

Average customer rating:

Setting the mood.

Classic Thanksgiving Songs of Praise

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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Home to Thanksgiving
A Classic Thanksgiving: We Gather Together
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Come, Ye Thankful People, Come
A Thanksgiving of American Folk Hymns

ASIN: B00004U921
Release Date: 2000-10-19

Tracks:

Praise My Soul - Halifax Choral Society/John Pryce-Jones
Immortal Invisible - Halifax Choral Society/John Pryce-Jones
Canzon Septimi Toni - London Symphony Orchestra Brass/Eric Crees
Concerto Grosso, Op.3 No.12: Allegro - Capella Istropolitana/Jaroslav Krecek
Christmas Concerto: Adagio - Capella Istropolitana/Jaroslav Krecek
Christmas Concerto: Pastorale - Capella Istropolitana/Jaroslav Krecek
Ave Verum Corpus - Halifax Choral Society/John Pryce-Jones
Hymn Prelude On Rhosymedre - Gareth Green
My Soul Doth Magnify The Lord - Oxford Camerata/Jeremy Summerly
Dear Lord And Father Of Mankind - Halifax Choral Society/John Pryce-Jones
Come Down O Love Divine - Halifax Choral Society/John Pryce-Jones
Concerto No.5, Op.5: Allegro - Johann Aratore
An English Suite: Prelude - Capella Istropolitana/Adrian Leaper
St. Paul's Suite: The Dargason - Bournemouth Sinfonietta/Richard Studt
Let All The World In Every Corner Sing - Halifax Choral Society/John Pryce-Jones
Fugue In D Major - Wolfgang Rubsam
Praise To The Holiest - Halifax Choral Society/John Pryce-Jones
Symphony No.5: A Mighty Fortress Is Our God - National Symphony Orchestra Of Ireland/Reinhard Seifried

Customer Reviews:

Setting the mood........2007-02-20

This is a great collection of fall/harvest/thanksgiving hymnes. I enjoyed listening to it and getting in the Thanksgiving mood.

The Glories of Handel Opera ~ Kirkby · Sutherland · Tebaldi · Berganza · Horne · Bowman · Pavarotti

Average customer rating:

A Lovely Mix of Old and New.
Glorious!
The glories could have been even more...glorious
Splendid Anthology from the Past 40 years

The Glories of Handel Opera ~ Kirkby · Sutherland · Tebaldi · Berganza · Horne · Bowman · Pavarotti
George Frideric Handel , Christopher Hogwood , Christophe Rousset , Richard Bonynge , Alexander Gibson , Bryan Balkwill , Henry Lewis , Emma Kirkby , James Bowman , Sara Mingardo , Luciano Pavarotti , Marilyn Horne , Joan Sutherland , Alicia Nafe , Philip Ledger , Forbes Robinson , Teresa Berganza , Bernadette Greevey , Renata Tebaldi , Sir Geraint Evans , and Emmanuelle Haïm
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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The Emma Kirkby Collection
Emma Kirkby sings Handel, Arne, Haydn & Mozart
Rinaldo
Handel: Serse (Complete Opera) - William Christie, Anne Sofie von Otter
Sandrine Piau - Handel Opera Seria

ASIN: B00004U8FD
Release Date: 2001-02-13

Tracks:

Alcina: Tornami a vagheggiar - Kirkby
Orlando: Ah Stigie larve! - Bowman
Orlando: Gia latra Cerbero - Bowman
Orlando: Vaghe pupille non piangete - Bowman
Riccardo Primo: Atterrato il muro cada - Mingardo
Atalanta: Care selve ombre beate - Pavarotti
Semele: Hence Iris hence away - Horne
Rodelinda: Io t'abbraccio - Sutherland
Ezio: Se un bell'ardire puo innamorarti - Forbes Robinson
Giuliu Cesare: Piangero la sorte mia - Teresa Berganza
Alcina: Dream Music - Kirkby
Rinaldo: Armida dispietata! Lascia ch'io pianga - Bernadette Greevy
Alcina: Sta nell'Ircana pietrosa tana tigre sdegnosa - Teresa Berganza
Serse: Frondi tenere - Ombra mai fu - Renata Tebaldi
Berenice: Si tra i ceppi e le ritorte la mia fe risplendera - Geraint Evans
Rodelinda: Dove sei amato bene? - Marilyn Horne
Giuliu Cesare: Da tempeste il legno infranto - Joan Sutherland

Customer Reviews:

A Lovely Mix of Old and New........2006-11-14

This volume actually updates an old tape--which I still own!--by adding some of the more recent interest in historical performance practices to some of the older operatic show-biz types on display here.

I very much enjoy Sutherland and similar performers in this material. Talk about razzle-dazzle. Singers like Pavarotti and Tebaldi bring a lot of know-how about beautiful music to Handel, and that is never unwelcome.

While they might not have been terribly musicologically-informed, performers like Sutherland, Horne and Berganza certainly knew more about period performance practices: they indeed initiated the resurgence of such practices in the last three decades. Do other reviewers here perhaps forget that in preferring Dessay over Sutherland?

Meanwhile for the purists, Hogwood, Kirkby and Bowman are certainly more in the original instruments/authenticity-fetish camp: if memory serves, they were not included in the old cassette version. Clearly Decca is aware of the change in performing styles--and perhaps audience tastes--even as they are reflected on this very Amazon page. Frankly, I could use less of these and more of the old-timers.

So yes, this is a mix of old and new. The newest trends are not included. But are they not readily available elsewhere? Meanwhile, like its earlier incarnations, this set is still a marvelous compilation of gorgeous music-making from the deep Decca catalog.

Glorious!.......2005-12-30

I bought this album a while back because I've taken an interest in Baroque music recently, and I was not disappointed. This truly is a glorious recording of Handel Opera. Of course with singers like Pavarotti, Sutherland, Horne, Tebaldi it would have to be above average. Sutherland ends the album with a dazzling display of vocal dexterity in "Da tempeste il legno infranto". Even when she sings the 16th note runs each note still has clarity. And Pavarotti is delectable in "Care Selve". I could give a review of each song but there's no need for that because each track on this is marvellous in its own way. Buy this album.

The glories could have been even more...glorious.......2004-05-31

Handel operas nowadays receive impressive stage productions and become increasingly popular. This is a great collection if you want to hear some of your favourite Italian opera singers like Sutherland, Tebaldi, Pavarotti, Evans, Berganza and Horne sing Handel. Especially the young Sutherland and Pavarotti are sensational!

Considering on the other hand that Decca has now recorded many Handel operas with excellent Baroque singers, I find this recording to be somewhat outdated. It wasn't necessary for example to have Sutherland, Horne and Berganza sing two different roles when the same parts have recently been recorded by excellent newcomers like Dessay, Von Otter, or Scholl to name a few. Why stick to the past when the present has so many wonderful Handel singers?

Overall however, a decent introduction to Handel's music.

Splendid Anthology from the Past 40 years.......2002-07-03

This fine CD is an anthology of splendid performances dating from 1960-1995 by the world's most celebrated opera singers of great music by Handel, who in my opinion wrote better for the voice than anyone else. Enjoy! You will listen to it again and again.

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Relaxation

Les Indispensables [Import]

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Pick It Up Pig Boy [Import]

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