Theodora

Editorial Reviews
Amazon.com
It's good to hear Maureen Forrester in her prime. Though famous later in her career as a Mahler specialist, the Canadian contralto made many fine recordings of Baroque music for Vanguard, and this is certainly one of them. However, as a performance of the oratorio it must yield to Nicholas McGegan's superb version on Harmonia Mundi, which is complete and features an even finer lineup of singers. --David Hurwitz

Tracks:

Ah! Whither Should We Fly...
...As With Rosy Steps The Morn
O Bright Example Of All Goodness!...
...Bane Of Virtue, Nurse Of Passions
The Clouds Begin To Veil The Hemisphere...
...Defend Her Heav'n!
Lord, To Thee Each Night And Day
She's Gone, Disdaining Liberty And Life...
...New Scenes Of Joy
Cantata
Cantata
Cantata
Cantata
Cantata
Cantata
Cantata
Cantata
Se Bramate D'amar, Chi Vi Sdegna
Frondi Tenere E Belle...
...Ombra Mai Fu

Amazon.com

If you think you've heard Handel's "Ombra mai fu" (known as his "Largo") so often, and in so many different arrangements, and sung by so many different voices, that you can no longer be moved or surprised by it, think again. This CD of Handel arias, mostly from his Theodora or the cantata La Lucrezia, ends with "Ombra mai fu," and as sung by Lorraine Hunt Lieberson, it is so tender, so beautiful, so impeccably shaded, that you'll think you're hearing it for the first time. But that's only four of this disc's 67 minutes---a follow-up to Hunt Lieberson's extraordinarily successful CD of Bach cantatas. There's not a dull or disinterested moment to be heard anywhere. As the violated Lucrezia, Hunt Lieberson alternately rages against the man who raped her and turns her grief inward; the former is terrifying in its intensity, the latter makes us almost feel as if we're eavesdropping. The five arias for Irene, Theodora's friend, confidante, and the upholder of Christian beliefs are all magical prayers or statements of faith, and from Hunt Lieberson, they become real, with each word honestly conveyed and colored. The voice itself is unfailingly beautiful---warm, lush, never forced, agile when necessary---and her breath control is stunning. She is backed ideally by Harry Bicket and The Orchestra of the Age of Enlightenment, and the string soloists in the ensemble---the viola da gamba player, lutenist, etc.---are as gifted as she is. If you want proof that Handel was a great dramatist with a special gift for communicating emotion, all while listening to sublime sounds, this CD is a must. --Robert Levine

Customer Reviews:

A Legendary Singer........2007-03-07

I simply don't have the heart to review Mrs. Lieberson's works.
If we call Ms. Bartoli a 'great' singer, then the description of 'legendary' more aptly depicts Mrs. Lieberson.
If ever a truly good artist lived, Mrs. Lieberson is one such.
The only singer that could be recalled singing in such style is Teresa Berganza; but still, they are different.
This is one of my favourite interpretators of Haendel. Having been 'treated' by those coloraturas of arias of Haendel's period by Ms. Bartoli and others, I find the singing of Lorraine Hunt Lieberson a great relief - at last, this is what Haendel would want it to be. And I equally enjoy the singing of soprano arias by Mrs. Lieberson - the timbre is warmer, but still with all the shimmer - so different from the dark mushy tones of other celebrated 'lyrical soprano' around.
Don't want to say more. Mrs. Lieberson's leaving last year is too heavy a news for me.

Lorraine Hunt Lieberson's Bach: The mind of God revealed!!.......2007-01-06

These deeply felt performances of two of Bach's most moving cantatas show this transcendent singer's combination of emotional honesty and profound musicality, all combined to reveal the very mind of God through divine redemption from suffering. The disc is to be treasured even more in light of the Ms. Lieberson's recent untimely death from cancer. I'm an agnostic, but this music makes me envious of those who can believe. Roy in Pope Valley, California

Glorious singing to treasure for decades.......2006-07-11

By any measure, America's Lorraine Hunt Lieberson is at least the equal of Italy's premier diva, mezzo-soprano Cecilia Bartoli, although she does not have the same superstar status. It is difficult to recall past mezzos with clearer enunciation of English text, (as favoured in nine excerpts from Theodora), the richness of voice, displayed in full-throated fortissimo and sharply contrasted pianissimo of utmost delicacy, evokes fondest memories of the tragically doomed Kathleen Ferrier. Masterfully chosen to display every facet of Hunt Lieberson's consumate command of Handel's dauntingly difficult music, the disc's repertoire - recitatives and linkig arias from the operas Theodora and Serse, and the cantana La Lucrezia - is stunning. An unsung mezzo who makes the senses tingle!

Lorraine Hunt-Lieberson (1954-2006), supreme Handelian.......2006-07-06

I have never heard a voice purer of tone, more flexible in phrasing, and so gorgeously produced in a homogeneous column of sound such as this artist in Handel's repertoire. It is very tastefully sung (unlike a certain person whose name begins with R and ends with enaaay Fleming) and so dramatically touching that one could not help but feel that this repertoire finally has found its instrument. And how sad it is to know that this instrument has passed away two days ago. Lorraine Hunt-Lieberson died two days ago in her home in Santa Fe, New Mexico of breast cancer. It is such a huge loss to the opera world, as she is an artist who is still experiencing the prime of her career. The voice is just so beautiful, the tone so pure, that I lament that we can no longer hear any great roles from this artist. She will be missed.

The Stellar Hunt Lieberson.......2006-03-19

Simply put, Lorraine Hunt Lieberson is one of the very best classical singers alive. She combines vocal elegance and purity with an emotional delivery that raises her above the crowd of technically proficient singers who just don't possess her depth of musical understanding or emotional commitment. Hunt Lieberson is a true artist who resists easy classfication except to say she is perfect in what she does.

Average customer rating:

When she sang...people would forget all that is conventional in opera
absolutely Beautiful
A glorious voice to remember
An Ode to Beauty and Artistry (Lorraine Hunt-Lieberson, 1954-2006)
subtle beauty

Lorraine Hunt - Handel Arias
George Frideric Handel , Nicholas McGegan , Lorraine Hunt , and Philharmonia Baroque Orchestra
Manufacturer: Harmonia Mundi Fr.
ProductGroup: Music
Binding: Audio CD

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Bach: Cantatas BWV 82 and 199
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Bach - Anna Magdalena Bach Notebook (highlights) / Hunt-Liberson, McGegan

ASIN: B0000007EU
Release Date: 1994-05-17

Tracks:

(Clori: Part I): Va col canto
(Clori: Part II): Barbaro!
(Clori: Part II): Amo Tirsi
(Theodora: Act I, 5): Angels, Ever Bright And Fair
(Theodora: Act II, 2): With Darkness, Deep
(Theodora: Act II, 2): Oh! That I On Wings Could Rise
(Ottone: Act II, 4): Vieni, o figlio
(Arianna: Act I, 2): Mirami altero in volto
(Susanna: Part I, 2): Bending To The Throne
(Susanna: Part III, 2): Guilt Trembling Spoke My Doom
(Messiah: Part III, 2): He Was Despised
(Radamisto: Act III, 7): Qual nave
(Agrippina: Act II, 20): Ogni vento

Customer Reviews:

When she sang...people would forget all that is conventional in opera.......2007-01-11

With Lorraine Hunt you can't go wrong. Her appeal is universal: those who don't fancy opera will love it because of her virtuoso capability, originality and sincerity. Laurent Naouri expressed the core of her appeal: "When she sang her character, people would forget all that is conventional in opera. People would forget even her singing; they would just feel something so deep and true." Bravo, Lorraine, you set a standard for all time.

absolutely Beautiful.......2007-01-10

She really left a wonderful gift in this cd. I wish I could have appreciated her voice before she died so as to have seen her in concert. What a voice she had!

A glorious voice to remember.......2006-10-29

If you love the voice of Janet Baker or Kathleen Ferrier, you will love this collection. Miss Hunt is the peer of any mezzo soprano I have ever heard, bar none. Her voice is pure and rich, her musicality is flawless, her total effect awe inspiring. If you have never heard Lorraine before, this is a great place to start. You won't be sorry!

An Ode to Beauty and Artistry (Lorraine Hunt-Lieberson, 1954-2006).......2006-07-06

I've been meaning to review this album for the longest time, but haven't because of my committments at work and other things. Lieberson's voice, in my opinion, is one of the most beautiful instruments of our generation. It is, unlike a certain Renaaay who tries to sing anything and everything as a huge, incoherent slur, a very beautifully and artistically sung Handel recital. The tone is simply magnificent! And no other Handelian artist has connected her singing of the role with a dramatic sense that is so acute as her performances of the role.

It is really sad to know that this great artist died of breast cancer two days ago in her home in Santa Fe, New Mexico. It was a big loss for the operatic world to lose such a beautiful instrument at such a young age. Lorraine Hunt-Lieberson will be missed.

subtle beauty.......2005-11-14

I have had this CD for several years now, and also all of the CDs from which these arias are drawn. What a great album; I would not be without it. Ms. Hunt (now Hunt Lieberson) has the voice, phrasing, discipline...the inner understanding of this music. She's "connected" on almost every piece here. 'Angels Bright and Fair' is a particular standout in my view; but almost certainly, if you are a lover of Handel's music, you will find something special here. Her soprano to mezzo soprano on this CD was a subtle and extraordinary voice for performing these pieces.

Average customer rating:

Another Winner from Handel and MDG

Händel: Arianna in Creta, HWV 32

Manufacturer: MD&G Records
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

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Händel: Oreste
Handel: Radamisto
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Motezuma

ASIN: B000E1JOFM
Release Date: 2006-04-18

Tracks:

Ouverture
Sinfonia
Recitativo: Egeo, Mio Genitor
Sinfonia
Recitativo: Qual Presagio Funesto!
Aria: Mirami, Altero In Volto
Recitativo: Non Si Disperi
Aria: Dille, Che Nel Mio Seno Serbo
Recitativo: Pur Siam Soli
Aria: Deh! Lascia Un Tal Desio
Recitativo: Ma, Non E Questi Alceste?
Aria: Nel Pugnar Col Mostro Infido
Recitativo: Ma, Non Si Attenda
Aria: Tal' Or D'Oscuro
Recitativo: Non Piu, Che L'Amor Tuo M'Offende!
Aria: Quel Cor Che Adora
Recitativo: Della Patria E De' Miseri
Aria: Sdegnata Sei Con Me
Recitativo: E Mi Lascio Il Crudele?
Aria: Sdegno, Amore

Tracks:

Recitativo Accompagnato: Oh Patria! Oh Cittadini!/Larghetto: Sol Ristoro Di Mortali
Reciativo Accompagnato: Disseratevi, O Porte/Larghetto-Allegro: Lo Ti Tengo/Recitativo: Ah! Che Pur Sogno Ancor!
Aria: Salda Quercia In Erta Balza
Recitativo: (Alceste E Qui, Si Tenti)
Aria: Non Ha Diffesa
Recitativo: Il Soccorer Carilda
Aria: So Che Non E Piu Mio
Recitativo: Pensa, Che Di Carilda
Aria: Qual Leon Che Fere Irato
Recitativo: Eh! La Speme L'Inganna
Aria: Narrargli Allor Saprei
Recitativo: Idolo Mio!
Aria: Al' Fine Amore
Recitativo: Fuggiam, Fuggiam!
Aria: Che Se Fiera Poi Mi Nieghi
Recitativo: Numi! E Voi Lo Soffrite!
Aria: Son Qual Stanco Pellegrin
Recitativo: Perdon ti Chiedo
Aria: Se Ti Condanno
Recitativo: Ah! Silenzio Spietato!
Duetto: Bell' Idolo Amato
Recitativo: Quel Crudele Di Me Pieta Non Sente
Aria: Se Nel Bosco Resta Solo

Tracks:

Sinfonia
Recitativo: Vorrai Dunque, Oh Carilda?
Aria: Un Tenero Pensiero
Recitativo: Questa Sola Speranza
Aria: Par Che Voglia Il Ciel Sereno
Accompagnato: Ove Son? Qual Orrore?
Aria: Qui Ti Sfido, O Mostro Infame
Recitativo: Ho Vinto! Grazie Ai Numi
Aria: Turbato Il Mar Si Vede
Recitativo: Se Il Minotauro Ei Vinse
Aria: In Mar Tempestoso
Recitativo: Di Te In Traccia Ne Vengo
Duetto: Mira Adesso Questo Seno
Recitativo: Meta Del Mio Gior La Piu Gradita
Aria: Bella Sorge La Speranza/Coro: Bella Sorge La Speranza

Customer Reviews:

Another Winner from Handel and MDG.......2006-05-25

Okay. So I'm biased. Handel is my favorite composer. But even if he's not your favorite there are still many reasons to purchase this set of 3 CDs. If you enjoy baroque vocal music. If you enjoy wonderful singing and graceful music. Long, tuneful arias punctuated by brief recitatives. Also the production label for this CD is MDG and the acoustics for their recordings are always top-notch without any sort of soundmodifying manipulation. And how they can produce such a superior recording of 3 CDs for $20 and some change is beyond me. Anyway I'm not a knowledgeable music critic. I just know what I like though I do happen to think I have good taste in music. In my humble opinion music like Handel's is a privileged foretaste of what we will experience in Heaven. That may sound like hyperbole to some but not to those of us who are passionate about baroque music. If you're a seasoned Handel fan you must have this recording. If you're new to the baroque vocal music scene you also must have it. Hurry up and purchase before the good people at MDG come to their senses and double the price!

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

Average customer rating:

For ever blest with Harmony and Love
Perfection
FAITH WORSE THAN DEATH
Total Handel Heaven!
"Virgin" is not a dirty word

Handel - Theodora / Gritton, Bickley, Blaze, Agnew, A. Smith, N. Davies, Gabrieli Consort and Players, McCreesh
George Frideric Handel , Paul McCreesh , Susan Gritton , Susan Bickley , Gabrieli Consort and Players , Robin Blaze , Paul Agnew , Angus Smith , and Neal Davies
Manufacturer: Archiv Produktion
ProductGroup: Music
Binding: Audio CD

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Oratorios | Opera & Vocal | Styles | Music

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Handel: Saul
Handel: Radamisto

ASIN: B00004U5BJ
Release Date: 2000-09-12

Tracks:

Theodora: Ouverture - (grave) - allegro
Theodora: Ouverture - Trio
Theodora: Ouverture - Courante
Theodora: Recitative (Valens): 'Tis Dioclesian's Natal Day
Theodora: Air (Valens): Go, My Faithful Soldier, Go
Theodora: Chorus: And Draw A Blessing Down
Theodora: Recitative (Didymus, Valens): Vouchsafe, Dread Sir
Theodora: Air (Valens): Racks, Gibbets, Sword, & Fire
Theodora: Chorus: For Ever Thus Stands Fix'd The Doom
Theodora: Recitative (Didymus): Most Cruel Edict
Theodora: Air (Didymus): The Raptur'd Soul
Theodora: Recitative (Septimius): I Know Thy Virtues
Theodora: Air (Septimius): Descend, Kind Pity
Theodora: Recitative (Theodora): Tho' Hard, My Friends
Theodora: Air (Theodora): Fond, Flatt'ring World, Adieu
Theodora: Recitative (Irene): O Bright Example
Theodora: Air (Irene): Bane Of Virtue
Theodora: Chorus: Come, Mighty Father
Theodora: Recitative (Messenger, Irene): Fly, Fly, My Brethren
Theodora: Air (Irene): As With Rosy Steps
Theodora: Chorus: All Pow'r In Heav'n
Theodora: Recitative (Septimius): Mistaken Wretches
Theodora: Air (Seprimius): Dread The Fruits Of Christian Folly
Theodora: Recitative - Accompagnato (Theodora, Septimius)
Theodora: Air (Theodora): Angels, Ever Bright, And Fair
Theodora: Recitative (Didymus, Irene): Unhappy Happy Crew
Theodora: Air (Didymus): Kind Heav'n, If Virtue By Thy Care
Theodora: Recitative (Irene): O Love! How Great Thy Pow'r
Theodora: Chorus: Go, Gen'rous, Pious Youth

Tracks:

Theodora: Recitative (Valens): Ye Men Of Antioch
Theodora: Chorus: Queen Of Summer
Theodora: Air (Valens): Wide Spread His Name
Theodora: Recitative (Valens): Return, Septimus
Theodora: Chorus: Venus Laughing From The Skies
Theodora: Symphony
Theodora: Recitative (Theodora): O Thou Bright Sun
Theodora: Air (Theodora): With Darkness Deep As Is My Woe
Theodora: Symphony Of Soft Musick
Theodora: Recitative (Theodora): But Why Art Thou Disquieted
Theodora: Air (Theodora): O That I On Wings Cou'd Rise
Theodora: Recitative (Didymus, Septimius): Long Have I Known
Theodora: Air (Septimius): Tho' The Honours
Theodora: Recitative: (Didymus, Septimius): O Save Her Then
Theodora: Air (Didymus): Deeds Of Kindness
Theodora: Recitative (Irene): The Clouds Begin To Veil The Hemisphere
Theodora: Air (Irene): Defend Her, Heav'n
Theodora: Recitative (Didymus): Or Lull'd With Grief
Theodora: Air (Didymus): Sweet Rose, And Lily
Theodora: Recitative (Theodora, Didymus): O Save Me, Heav'n
Theodora: Air (Theodora): The Pilgrim's Home
Theodora: Accompagnato - recitative (Didymus, Theodora): Forbid It, Heav'n
Theodora: Duet (Theodora, Didymus): To Thee, Thou Glorious Son Of Worth
Theodora: Recitative (Irene): 'Tis Night
Theodora: Chorus: He Saw The Lovely Youth
Theodora: Recitative (Theodora): O Thou Bright Sun
Theodora: Symphony
Theodora: Recitative (Theodora): But Why Art Thou Disquieted
Theodora: Air (Theodora): O That I On Wings Cou'd Rise

Tracks:

Theodora: Air (Irene): Lord To Thee
Theodora: Recitative (Irene, Theodora): But See, The Good, The Virtuous Didymus
Theodora: Air (Theodora): When Sunk In Anguish
Theodora: Chorus: Blest Be The Hand
Theodora: Recitative - Accompagnato (Messenger, Irene, Theodora): Undaunted In The Court
Theodora: Duet (Irene, Theodora): Whither, Princess
Theodora: Recitative (Irene): She's Gone
Theodora: Air (Irene): New Scenes Of Joy
Theodora: Recitative (Valens, Didymus, Theodora, Septimius): Is It A Christian Virtue Then
Theodora: Air (Septimius): From Virtue Springs
Theodora: Air (Valens): Cease, Ye Slaves
Theodora: Recitative (Didymus, Theodora): 'Tis Kind, My Friends
Theodora: Chorus: How Strange Their Ends
Theodora: Recitative (Didymus, Theodora, Valens): On Me Your Frowns
Theodora: Air (Valens): Ye Ministers Of Justice
Theodora: Recitative (Didymus, Theodora, Septimius): And Must Such Beauty Suffer
Theodora: Air - Duet (Didymus, Theodora): Streams Of Pleasure
Theodora: Recitative (Irene): Ere This Their Doom Is Past
Theodora: Chorus: O Love Divine

Amazon.com

"The Jews will not come to it, because it is a Christian story; and the Ladies will not, because it is a virtuous one." Such was Handel's own assessment of the prospects for Theodora. This oratorio always has been highly esteemed by serious Handelians; in the composer's time, as in our own. Many listeners, however, could be forgiven for finding somewhat tiresome the musical account of the oh-so-chaste Princess Theodora of Antioch and her martyrdom at the hands of the Romans. Certainly many modern performances have tended to drone on--in a virtuously Protestant manner--about bidding farewell to worldly things and clinging to faith through tribulation. Of the many marvelous things about this recording, the most remarkable is the vocal acting: Paul McCreesh and his cast have created real characters with real conflicts. Susan Gritton gives us a youthful Theodora who is almost besotted with her own virtue and faith--and genuinely frightened when that faith gets her into danger. Countertenor Robin Blaze portrays Didymus, Theodora's suitor and rescuer, with love-struck impetuousness, as well as confident coloratura. Paul Agnew has always had a beautiful tenor voice, but never before has he captured so well a character's internal conflicts as in the role of the Roman lieutenant Septimius. As the Christian woman Irene and the Roman governor Valens (the libretto's respective compass points of good and evil), mezzo Susan Bickley and bass Neal Davies bring alive what could be stock roles--Bickley delicate and pure yet steadfast, and Davies exuberantly tyrannical. McCreesh's superb chorus and Baroque orchestra, as thrilling here as they were in Solomon, are probably the best interpreters of Handel oratorio who are now active. We still might get a recording of Theodora that's even more beautifully sung than this one, but we're unlikely to get one that's more dramatically engaging. --Matthew Westphal

Customer Reviews:

For ever blest with Harmony and Love.......2005-11-18

Ensure that you have a comfortable chair upon which you seat yourself when you first put this recording on - you won't be able to tear yourself away from the recording. This is sublimely, wonderfully, expressively beautiful. It has the perfection in a recording which remains in the memory like a shining jewel, like a confession of love from the beloved, like a pure bell ringing in the sweet air.

In short, this is a recording that all who love beautiful music will relish all their lives.

The cast is outstanding. It is impossible to imagine Septimius being sung more beautifully and sympathetically than by the wonderful Paul Agnew (although the Glynebourne DVD does have the equally superb Croft - what a pity about the semaphoric acting on that DVD, though). Robin Blaze pours out mellifluous and heartbreakingly effective tone in the role of Didymus. Valens, sung by Neal Davies, has NEVER sounded better. Irene, sung by Susan Bickley, is wonderful (I still prefer Lorraine Hunt on the DVD edition, but really, Susan Bickley is deeply moving on this recording).

And the Theodora...? Ah, the Theodora. No better choice in the world could have been made than to choose Susan Gritton. She has the full sweetness of tone that seems to have been made for Handel singing. Once heard, her voice will not be forgotten. It's simply ravishing - a very, very, very fine voice indeed, and used so exquisitely and with such good taste as well as expressiveness! She's a model of how to sing baroque music. Her Theodora is divinely beautiful and incredibly real. I have never heard "Angels ever bright and fair" heard sung so perfectly before...

The conducting by Paul McCreesh is fabulous, with the Gabrieli Consort and Players giving a stirring and beautiful performance.

This, without a doubt, is THE recording of Theodora to possess.

The final duet sung by Theodora and Didymus are as good a testimony to the sheer loveliness of this recording as anything else I could say:

"Thither let our Hearts aspire
Objects pure of pure Desire.
Still encreasing,
Ever pleasing.
Wake the Song, & Tune the Lyre,
Of the blissful holy Choir."

Blissful indeed...

Perfection.......2004-09-15

I can find no weak link. The conducting is superb, the recording is clear digital, the story is gripping and as realistic as you can expect from Handel....and the singing? Superb.

Neal Davies makes a firm, vicious and cruel Valens. His menace is palpable yet very musical. Paul Agnew's Septimius is the definition of sympathy. He colours his voice vividly to convey his torture, conflicting loyalties as well as his sympathy and love for his friend, and later to convey his stern advice to the Christians "Dread the fruits of Christian folly". The latter was executed with fascinatingly clean runs.

I will struggle not to get carried away with Susan Bickley's RAVISHING Irene! "As with rosy steps the dawn advancing" will stop your breath with its purity, its beauty and the effectiveness of its simplicity. Likewise, "Defend her heav'n" will slow your breath in parallel piety to Bickley's awesome rendition.

The superlatives continue for one of the most endearing countertenors of our time. Robin Blaze's delivery as Didymus is smooth in all respects...vocal skill and drama without a hint of hysterics. None of the so-called 'hoot' to his lovely voice either. His duet with Susan Gritton ("To thee thou glorious son of worth") is rapturously sung and the voices are perfectly matched.

Then Susan Gritton herself: I am not equal to the task of her praise. Suffice it to say that her pure, golden-honeyed tone add painful beauty to technical perfection.

I summon the strength for final praise to the EXCELLENT chorus and Choir Director. "Go gen'rous pious youth" is one of the tracks that I play most frequently. All throughout, however, the chorus is brilliant.

McCreesh and his players have made this into an epic event. Full satisfaction guaranteed.

FAITH WORSE THAN DEATH.......2003-07-27

Dying for one's beliefs, Bertrand Russell said, is putting rather a high premium on conjecture. Killing for one's beliefs seems to be back on the agenda these days, and the story of the Christian martyrs Theodora and Didymus should strike a few chords in the 21st century. The Roman 'President' (yes, really) Valens is not some monster of total evil but a perfectly recognisable authoritarian redneck -- the laws of Rome including religious observances will be obeyed or else. Theodora refuses as a Christian and is sentenced to prostitution. The closet Christian Didymus tries to help, Valens' lieutenant Septimius intercedes with Valens arguing that it would have been his duty to carry out a sentence of death but not of a fate worse than, and the outcome is death for Theodora and Didymus. Lucretius said in the century before either Christianity or the Roman Empire were founded that religious beliefs are totally unverifiable yet this is the kind of misery they have people inflicting on themselves and one another.

Handel's Theodora is a towering masterpiece. It would be hard to imagine any serious music lover going through life ignorant of Messiah, the St Matthew Passion, Figaro or Tristan, but I wonder how many know Theodora, which is of the same stature as any of these. It is a big work (longer than Aida) and it is more even in quality than Messiah. It is not really right to single out individual numbers, but the first two arias from Theodora's confidante Irene will be likely to make a big impression on newcomers to the work until even they are surpassed by Theodora's Angels Ever Bright and Fair. The arias of Valens are superb pieces of Handelian swashbuckle, like The Enemy Said from Israel in Egypt or the tremendous Revenge Timotheus Cries from Alexander's Feast. The main choruses are wonderful and the whole work reinforces my growing belief that Handel was the ultimate master of vocal writing.

Morell's libretto seems to me distinctly good, given that it is in the strange lingo that English poetry adopted in the 18th century. It is never ridiculous, and Dryden himself inflicted far worse on Chaucer believing he was 'fortifying' him with 'a correct and splendid diction', more realistically called by Housman 'this impure verbiage'. I personally would not want the poetry too good, because most great poetry does not lend itself to musical setting (as well-intentioned settings of Housman seem to me to prove). Morell provides a workmanlike inner structure for Handel to erect his temple.

The performers are eminent specialists, it is many years since I last heard Theodora, I have no other performance to compare, and I am too grateful for this one to try to criticise. It suits me that vocal cadenzas are kept minimal and that the harpsichord continuo is not obtrusive. I thought I had read somewhere that Handel actually had clarinets for an early performance, but I may be mistaken. As often with Handel it is hard to establish an authoritative version of the score, and alternative endings to Act II are provided.

Will I live to see the day when Theodora is in its rightful place as a central classic of our musical heritage? This set can only help in a big way towards that.

Total Handel Heaven!.......2000-12-20

Handel's Theodora - the tale of Christian Martyrdom set in Antioch c304 A.D, is an utter delight, and no more so in this new recording by Paul McCreesh and the Gabrieli Consort and Players.

Those of you reading who were lucky enough to see the Glyndebourne production a couple of years ago with Dawn Upshaw, David Daniels et al, will already know what an emotional work this is, and this recording conveys Handel's musical (and emotional) mastery perfectly.

For your money you get three CDs (79, 60 and 48 mins respectively). The recording is crisp and responsive - the tempi well balanced and the pitch even (in this case A=418Hz).

What of the Cast? Counter-tenors are now big business with the likes of Scholl and Daniels regularly appearing on the World's opera stages, but it is refreshing to hear the excellent (and English) Robin Blaze in this recording. His voice is majestic, florid and emotional all at once, with a light, even temperament (listen to `The raptur'd soul' or `Sweet Rose and Lilly').

The soprano Susan Gritton is now a personal favourite of mine and in the title role she not only shines, but is a good pairing for Blaze's Didymus, no more so than in the two utterly rapturous duets at the end parts II and III respectively (`To thee thou glorious son of worth' and `stream of pleasure ever flowing'). Sue Gritton has power when required but also possesses intelligence and the emotional depth to really make any aria meaningful.

Singers no less accomplished than Gritton and Blaze take the other lead roles. Susan Bickley's Irene is fantastic, and the timbre of her voice a delight to hear - she also gets my vote for `best ornamentation', with some wonderful moments (`Bane of Virtue' and `As with rosy steps the morn').

The other two male roles, Valens and Septimius are given excellent performances by the bass Neal Davies and the tenor Paul Agnew respectively. Both these singers convey the music perfectly, with Agnew's lyrical tenor voice standing out especially.

One must not forget either the chorus or the orchestra. The Gabrieli chorus makes a fantastic sound that is both well articulated and intelligent. The counterpoint and fugal quality of Handel's music is delivered with vigour when required and emotion in the more contemplative numbers. The chorus sings beautifully what Handel rated as one of his finest choruses, of the raising of the son of the widow of Nain (He saw the lovely youth) - it is easy to see why!

This recording has everything - a fine cast and chorus supported by an excellent band on period instruments. In short, it is three hours of some of the best music Handel ever wrote, and for that reason alone should grace the shelves of any lover of Handel's exquisite music.

"Virgin" is not a dirty word.......2000-09-20

"Theodora, Virgin and Martyr" is the less than appetizing subtitle of Handel's pentultimate oratorio, subject taken from St. Ambrosius' "De virginibus", made into a play by Pierre Corneille (1646), and also a novel-treatise by Robert Boyle (1687). From this inauspicious subject, two works of great beauty resulted, the play and the oratorio. Yet the popularity of either was little in their day, and for this we will blame the subject, too much virtue, too little passion. However, the music is strangely liberated from the drama and Handel really outdid himself, as he did so often in the more subtle, heroine-centred oratorios "Deborah", "Susannah" are two good examples. Just how does one sustain interest over three CD's with little forward-moving plot and sententious choruses? Simply, via the music, and by extention, the skill and expressiveness of the singers and orchestra. Paul McCreesh took what he learned about variety from Solomon, dramatic singing of static texts from the Messiah, and gave us this latest, beautiful release. Buy this opera for Susan Gritton, a passionate yet consumate voice, but also for the clean, "boyish" (yet with lovely, dark low notes and incredible skill) counter-tenor Robin Blaze. And if you know Neal Davies and Paul Agnew, you pretty much have a perfect cast. The pure "gravy" element comes, however, with the addition of Susan Bickley, one of those rare mezzos who is genuinely soft and gentle on the ear while never sacrificing vocality. She is the kind of alto you loved sitting next to in choir, something of Anne Sophie Von Otter's warmth, and wonderfully expressive. Great chorus, great conducting, a worthy addition to Handelian output and recordings.

Average customer rating:

Voice of the Baroque

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Voice Of Mozart
Sacred Classics - Messiah, Ave Maria, Pie Jesu, Zadok the Priest, L'enfance du Christ

ASIN: B0000667S1
Release Date: 2002-05-14

Tracks:

JS Bach: Cantata No. 140: Wachet auf, ruft uns die stimme
Purcell: Oedipus: Music for a While
Handel: Acis and Galatea: O Ruddier Than the Cherry
JS Bac: Bist du bei mir
Vivaldi: Gloria in D major: Gloria in Excelsis Deo
Handel: Semele: Where'er Ye Walk
Handel: Giulio Cesare: Piangero la sorte mia
Handel: Theodora: Defend Her, Heav'n
Handel: Berenice: Si, tra I ceppi e le ritorte la mia fe risplendera
Handel: Judas Maccabaeus: See the Conqu'ring Hero Comes
Handel: Messiah: Comfort Ye My People
Handel: Messiah: Ev'ry Valley Shall Be exalted
Handel: Messiah: O Thou that Tellest Good Tidings to Zion
Handel: Messiah: Behond, I Tell You a Mystery/The Trumpet Shall
Handel: Messiah: He Shall Feed His Flock
Handel: Messiah: Hallelujah

Tracks:

Handel: Samson: Let the Bright Seraphim
Scarlatti: L'onesta negli amori: Gia il sole dal Gange
Schutz: Musikalische Exequiem: Motet "Herr, wenn ich nur dich hab"
JS Bach: Sheep May Safely Graze
Handel: Serse: Ombra mai fu
JS Bach: Susser Trost, mein Jesu kommt
Monteverdi: L'Incoronazione di Poppea: Pur ti miro
JS Bach: Jesu, Joy of Man's Desiring
Purcell: The Indian Queen: I Attempt from Love's Sickness to Fly
Giordani: Caro mio ben
Vivaldi: Bajaset: Anch'il mar par che sommerga
JS Bach: Komm, susser Tod
Purcell: Dido and Aeneas: Dido's Lament: When I Am Laid in Earth
JS Bach: St. Matthew Passion: Ich will bei meinem Jesu wachen
JS Bach: St. Matthew Passion: Erbarme dich, mein Gott
JS Bach: St. Matthew Passion: Wir setzen uns mit Tranen nieder

Average customer rating:

a voice teacher and early music fan
Handling Handel With Unparalleled Skill and Power
Very beautifully intoned
Handel: Oratorio Arias
A beautiful recital

Handel: Oratorio Arias

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Arias | Opera & Vocal | Styles | Music

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Handel: Opera Arias; David Daniels
Sento Amor; David Daniels;
David Daniels - Serenade
Vivaldi: Stabat Mater, Nisi Dominus, Longe Mala
Berlioz: Les Nuits d'Été

ASIN: B000066I62
Release Date: 2002-09-17

Tracks:

"Destructive War" (Belshazzar)
" O Sacred Oracles Of Truth" (Belshazzar)
"Despair No More Shall Wound Me" (Semele)
"Your Tuneful Voice" (Semele)
" The Raptured Soul" (Theodora)
"Deeds Of Kindness" (Theodora)
" Kind Heaven" (Theodora)
"Sweet Rose And Lily" (Theodora)
"Brave Jonathan" (Saul)
"O Lord, Whose Mercies Numberless" (Saul)
"Up The Dreadful Steep Steps Ascending" (Jephtha)
"Dull Delay" (Jephtha)
"He Was Despised" (Messiah)

Amazon.com

This is a splendid recording. The music is beautiful, though of the 13 arias, only the one from Messiah is well-known. The rest come from relatively obscure oratorios (or operas--the distinction is often blurred). Artfully arranged for maximum diversity of tempo, length, tonality, mood, and character, they add up to a consistently engrossing program. The performances could hardly be better. David Daniels is an extraordinary artist. His voice, effortlessly produced and impeccably focused, has an incredibly pure, even quality over an enormous range. He can give it an infinite variety of nuance, inflection, and expression, from exquisite sweetness in the lyrical arias to assertiveness and defiance in the dramatic ones; it even matches the color of the instruments in answering phrases. His coloratura, delivered in smooth legato but clear and flawless like a string of pearls, is stunning. He gives every note vibrant life and brings out the character of each aria without fuss or exaggeration. In the da capo arias, he embellishes the repeats with imaginative but never excessive ornamentation that sounds genuinely improvised. The period orchestra is excellent. Using normal tuning but baroque style, the players can step forward as soloists or set and underline mood and atmosphere. Listeners will choose their own favorite gems from this treasure-trove, but listening to the concluding aria, "He was despised," one understands why Messiah is Handel's most enduringly popular oratorio. --Edith Eisler

Customer Reviews:

a voice teacher and early music fan.......2006-10-07

Handel's oratorio style was the product of many mingled elements. Germany, Italy and England all had a hand in its formation. But the work that Handel did in the development of the oratorio alone gives him the right to rank among the greatest of those to whom we owe the modern forms of music. David Daniels to my mind has chosen six of the greatest of Handel's oratorios. 'Belshazzar' was written to a text based on the book of Daniel, by the rich and eccentric land-owner Charles Jennens with whom he collaborated many times. 'O Sacred Oracle of Truth' is sung by the imprisoned prophet Daniel, while 'Destructive War' is sung by the haughty and magnamimous Cyrus, King of Persia, who frees the Hebrews from their slavery under the Babylonian king Belshazzar."Semele" is a secular story taken from Greek mythology put into verse by William Congreve. Jupiter lusts after a mortal woman snatching her from her family in the form of an eagle. The young woman, Semele,arouses the jealous anger of Juno, who takes her revenge. As a result of a plot that the goddess hatches,Semele is destroyed by fire. The 2 arias heard here are for Athamas who is betrothed to Semele. He finally gains consolation by marrying Semele's sister. The heroine of 'Theodora' is a Christian martyr whose life is recounted by St. Ambrose in his 'De virginibus of AD377. When Theodora is punished for refusing to worship the Roman gods, Didymus(a Roman soldier who has secretly converted to Christianity) rescues her from imprisonment; is then condemned to death, Theodora joins him in martyrdom. The oratorio 'Saul' centres on the celebrated trio of Saul,David and Jonathan. Based on the first book of Samuel, it dealt with a familiar story to most of the public at that time. 'Brave Jonathan' and 'O Lord, whose mercies Numberless' are both sung by David being pursued by a jealous Saul, but is sustained by the staunch friendship of Jonathan. 'Jeptha' is based on Chapter 11 of the book of Judges. The theme; Jeptha's promise to sacrifice to God ,in exchange for a victory over the enemy ,the first person to come out of his house to greet him after the battle; and it is his daughter Iphis. But what the Christian God really demands is that his daughter consecrate herself to Him and thus retain her virginity. And Hamor (countertenor) although very unhappy indeed sighs for her 'Up the Dreadful Steep Ascending' and 'Dull Delay'. The libretto of the "Messiah" is based on extracts from the Bible and The Book of Common Prayer, arranged by Charles Jennens. Unlike the other oratorios,it does not tell a story. 'He Was Despised' invites the listener to meditate on the horrendous suffering imposed by mankind on Jesus before his crucifixion.

Handling Handel With Unparalleled Skill and Power.......2004-08-08

If you need evidence on why David Daniels has been rising so fast as the leading countertenor voice today, you need only listen to this wonderfully recorded disc of Handel's oratorio arias, which captures him at full vocal power with amazing coloratura. Although the countertenor voice is generally described as androgynous and often effeminate because of the high range, Daniels has an intensely passionate style that actually sounds warmer and more masculine than one would think possible for such a voice type. Consequently, he is playing a pivotal role in broadening the audience significantly for not only countertenors but also Handel's wondrous music.

Daniels' first solo recording for Virgin Classics in 1998 (strongly recommended) focused on Handel's Italian operas, while this one focuses on his English oratorios composed specifically for the concert stage. Except for the language difference, the distinction is not all that meaningful since both fully use Daniels' amazing interpretative powers to their maximum. On "The raptured soul" from "Theodora", for example, it's amazing how through his sheer virtuosity and deeply textured tessitura, he can make the repetition of six simple lines sound so compelling over an air that lasts nearly nine minutes. Speaking of which, it's quite satisfying to have four airs from "Theodora" recorded here for posterity, as an aural reminder of his stunning performance as Didymus in Peter Sellars' legendary 1996 Glyndebourne staging of this oratorio (now available on DVD and also strongly recommended).

Starting with a scale-swooping "Destructive war" from "Belshazzar", the entire program is mesmerizing with special mention going to "O Lord, whose mercies numberless" from "Saul" and "He was despised" from "Messiah". Conductor John Nelson and the Ensemble Orchestral de Paris accompany Daniels beautifully and unobtrusively with modern (versus period) instruments, a smart decision giving the pieces a more contemporary feel. The end result is a recital to play again and again...at least until you have the opportunity to hear him live.

Very beautifully intoned.......2004-04-04

I was greatly impressed with this CD. I have always appreciated Daniel's voice over most other countertenors (and there are many wonderful ones that are simply incredible), and mostly for its warmth and lack of "hootiness." The coloratura is well executed, and his legato line is breathtaking. Then why a four star rating? All of these arias are sung in English, and it seems these days NO ONE, not male, female, soprano, alto, countertenor, seem to know how to sing it so you can understand a word. That is why I say this recording is beautifully intoned, for it is beautifully sung. What is missing is actual communication of something, no meaning exists behind the non-existent words. It would have been so much more meaningful if we could have figured out what he was telling us. I have old recordings of Dame Clara Butt, a huge voiced contralto of the past century. She sings much of this type of music, and in spite of the horrible quality of the recordings, her words come blazing forth effortless to understand. Even Ernestine Schumann-Heink sings credibly in English giving meaning to the words. Singing is WORDS, not just music. Sadly, we are all forgetting this now days, and most of our well known singers are simply horrible when it comes to singing in English (I have bought many Chaldas recording of opera in English, well they may as well have sung in the original language for we at least can figure out the words when singers sing thusly). Countertenors have the world's worst pronunciation of their words out there, but Daniels is usually much better because of the darker quality of his voice. This time, however, I have to say, I was not impressed. The voice is beautiful, the singing ravishing, but there is no meaning because the words are not clear.

Handel: Oratorio Arias.......2003-08-08

In this beautiful collection of music, one would be, as usual, hardpressed to find some aspect about which to complain in the beautiful, mellifluous tones of David Daniels. That is not the reason for this brief review. I am, on the other hand, dissatisfied with the choice of using the Ensemble Orchestral de Paris as the accompaniment. With many fine baroque ensembles out there from which to choose and enhance--including ones utilized in previous recordings--it seems a shame to pick such an average group, who saw away with very little phrasing or soul. Leave it to the French to abandon all traces of soulfulness--even in their music.

A beautiful recital.......2002-09-23

For once, I'll be brief. Beautiful singing and playing. Daniels performance of "Oh, Lord whose mercies numberless" is alone worth the price of the CD. Mr. Daniels is a consummate musician and this release further gives proof of that. Lovers of Handel and baroque music in general and English oratorios in particular will be more than delighted with this CD. Sit back and enjoy.

Bach - Mass in b minor / Heaston · Hanslowe · Rabiner · M. Tucker · N. Berg · Boston Baroque · Pearlman

Average customer rating:

one of the best interpretations available, but second to Gardiner's classic reading
This recording is very over-hyped.
Great buy, good performance, a bit oddly recorded
Another great recording from Pearlman and the Boston Baroque
Magnificent, truly Magnificent

Bach - Mass in b minor / Heaston · Hanslowe · Rabiner · M. Tucker · N. Berg · Boston Baroque · Pearlman
Johann Sebastian Bach , Martin Pearlman , Boston Baroque , Nicole Heaston , Theodora Hanslowe , Ellen Rabiner , Mark Tucker , and Nathan Berg
Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

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Handel - Messiah / Clift · Robbin · Fowler · Ledbetter · Boston Baroque, Pearlman
Bach: Mass in B minor / McNair, Ziegler, Simpson, Aler, Stone, Paul; Shaw
Sergei Rachmaninoff: Vespers (Mass for Unaccompanied Chorus)

ASIN: B00004R8M3
Release Date: 2000-02-22

Tracks:

Kyrie Eleison
Christe Eleison
Kyrie Eleison
Gloria In Excesis Deo
Et In Terra Pax
Laudamus Te
Gratias Agimus Tibi
Domine Deus
Qui Tollis Peccata Mundi
Qui Sedes Ad Dextram Patris
Quoniam Tu Solus Sanctus
Cum Sancto Spiritu

Tracks:

Credo In Unum Deum
Patrem Omnipotentem
Et In Unum Dominum
Et Incarnatus Est
Crucifixus
Et Resurrexit
Et In Spiritum Sanctum
Confiteor
Et Exspecto
Sanctus
Osanna In Excelsis
Benedictus
Osanna In Excelsis
Agnus Dei
Dona Nobis Pacem

Amazon.com

Right out of the box, this must be considered one of the finer accounts of the B minor Mass currently available on disc, and at Telarc's two-for-one pricing, it's one of the most affordable as well. Recorded in May 1999 at Mechanics Hall in Worcester, Massachusetts, it features a well-nigh ideal complement of musicians--a chorus of 28 and an orchestra of 31--in an acoustically excellent setting, under the direction of one of America's foremost baroque specialists, Martin Pearlman. Fluent, engaging, informed, and insightful, the performance is proof that North American period-instrument playing has come of age. In fact, the playing of the Boston Baroque ensemble is the chief glory of this account. Individually and collectively an outstanding group of instrumentalists, they deliver the obbligato solos with impeccable flair across the board, while their tutti playing is agile yet substantial in sound. The Boston Baroque choristers are not quite up to the level of their colleagues; in places, their singing lacks the ultimate degree of polish and projection, though it is unfailingly animated and communicative: witness the beautiful job they do with "Et expecto resurrectionem mortuorum" and the final "Dona nobis pacem." There is much good work from the soloists as well, though a couple of them phrase their numbers rather choppily and could show more expressive finesse. Telarc's recording is spacious and atmospheric, yet dry enough to be nicely detailed. There are also good notes from conductor Pearlman, who with this release further solidifies his reputation as an interpreter of Bach. --Ted Libbey

Customer Reviews:

one of the best interpretations available, but second to Gardiner's classic reading.......2007-06-01

Gardiner's classic reading with the English Baroque Soloists is the unavoidable point of comparison for any period instrument reading of the Bach B Minor Mass, and Pearlman and the Boston Baroque measure up admirably to Gardiner's definitive account. Where Gardiner's is an exuberant, dramatic performance, Pearlman's interpretation finds instead a sense of contented calm, a spiritual inner peace. There is less edge-of-your seat euphoria, and more of a joyful, peaceful glow from within. (This is particularly true in the Kyrie and Gloria sections; Pearlman's reading is more animated and dramatic in the Credo---thus it seemed to me that for Pearlman, the Credo is the piece's center of gravity.) True enough, Gardiner's is the greater reading (indeed, it is one of history's greatest performances of any repertoire), but Pearlman's remains a performance of the first order.

For Pearlman this is more a choral piece than an orchestral piece. The voices outbalance the instruments almost two to one much of the time, where for Gardiner the balance favors the orchestra, often to the same extent. Though it's interesting to note that other reviewers here do not agree with me about this. I suppose that in a huge score such as this, as is often commented with regard to different interpretations of the Mahler symphonies, there are almost endless possible choices of textural emphasis; perhaps everyone has their favorite orchestral passages in this piece, and will find the orchestra overbalanced if those are not the orchestral passages that are emphasized. I must admit that I missed the instruments in places. I am a trumpet player myself, and was especially interested to hear the Boston Baroque's first trumpeter, Friedemann Immer, play the first trumpet parts here. Together with Crispian Steele-Perkins and Niklas Eklund, Immer is amongst the world's elite exponents of the valveless Baroque trumpet, and has recorded the best performance of the Bach 2nd Brandenburg Concerto we have. But he is generally kept well in the background here, even in extended, important solo trumpet passages, such as in Credo in unum Deum.

This recording is very over-hyped. .......2006-10-08

I have long been searching for a new recording of the Bach Mass. After giving this a spin, I was very disappointed. The chorus is nearly non-existant. I do not know if this is a recording balance problem or a musical problem. But this IS a choral work. One wants the chorus to have some presence. You will not find it in this recording. At times the nattering of inner woodwind parts is given more weight in the mix than the chorus. The result is that at times the chorus is more of an obligato than is is the primary focus (as it should be).

If you are searching for a fine recording of Sebastian Bach's masterpiece, then this isn't it.

Great buy, good performance, a bit oddly recorded.......2005-12-16

This is a very good performance of this great work. It is not as transcendent as others, but seems more about energy and vitality than plumbing the depths of spiritual feeling. The soloists are all excellent, the conducting keeps things moving along, and this recording is at its very best in the movements such as the Gloria and even the Credo. The approach Pearlman takes in the first Kyrie lets you know that this is not going to be Klemperer, Gardiner, or especially not Herrewhege (whose approach, though beautiful, I find, finally, too soft).

The only problem I have with the disk is, I think, in the way it was miked. It is just strange at times how an individual voice in the small choir will pop out, yet the entire bass section is often less present than a cello doubling them. The voices all sound young, but a conductor would understand that and work out the balance by asking them to sing out.

The soaring trumpet in the final Donna Nobis (and its earlier statement) is powerful, but across the room and the tympani sound like they are kind of off stage. We hear their boom, but do not hear the articulation clearly. Given the fine ensemble of the group and the apparent skill of the conductor, it is hard from me to blame him in not knowing how to balance the group. Did they have a recording engineer who was unfamiliar with the work?

Anyway, it doesn't sound BAD, just not as clear or as powerful as one would like. However, for the price, it is a very good buy.

The orchestra is very good and is easy to hear throughout.

Another great recording from Pearlman and the Boston Baroque.......2005-03-17

Very nice period instrument performance. As said before, these voices absolutely do not sound like "british german," and this recording is definitely very authentic, with the use of period instruments and baroque tempos. Lighter in mood than many romanticized versions, it is after all, as said before, "a mass, not a requiem." Sound quality is very good. Highly recommended.

Magnificent, truly Magnificent.......2004-07-19

I own over 200 CDs of everything from Palestrina and Pope Gregory, to Mahler, Widor, Dupre, and Vaughan Williams, and I have to say this is the ultimate recording in my collection. Maestro Pearlman was reading Bach's mind on this one...It is, I believe, how Mr. Bach would have wanted it. Thank you Maestro Pearlman, thank you.

Average customer rating:

Handel: Sacred Arias

Manufacturer: Atma Classique
ProductGroup: Music
Binding: Audio CD

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Love Duets

ASIN: B00005YJRO
Release Date: 2002-02-12

Tracks:

Saul: Sinfonia: Allegro
Saul: Larghetto
Saul: Allegro
Saul: Andante Larghetto
Saul: Air: 'O Lord, Whose Mercies Numberless
Messiah: Air: But Who May Abide
Messiah: Allegro Du Concerto Grosso, Op.3 No.6
Messiah: Air: If God Be For Us
Solomon: Ouverture: Grave-Allegro
Solomon: Allegro
Solomon: Air: Almighty Power
Solomon: Recitatif: Bless'd Be The Lord/Air: What Though I Trace
Theodora: Ouverture: Grave-Allegro
Theodora: Trio
Theodora: Courante
Theodora: Air: As With Rosy Steps

Average customer rating:

Alma Gluck

Manufacturer: Nimbus Records
ProductGroup: Music
Binding: Audio CD

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

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Louise: Depuis Le Jour
Jocelyn: Caches Dans Cette Asile
Carmen: Je Dis Que Rien Ne M'Epouvante
Elegie - Alma Gluck/Rosario Bourdon/Efrem Zimbalist
Le Timbre D'Argent: Le Bonheur Est Chose Legere
Hippolyte Et Aricie: Rossignols Amoureux
Chanson Grises, No.5: L'Heure Exquise - Alma Gluck/Josef Pasternack
Lo! Here The Gentle Lark - Alma Gluck/Victor Herbert/Clement Barone
Have You Seen But A Whyte Lillie Grow?
Atalanta: Care Selve
Theodora: Angels Ever Bright And Fair
Hansel Und Gretel: Susse, Liebe Susse - Alma Gluck/Louise Homer
War Schoner Als Der Schonste Tag - Alma Gluck/Francis J. Lapitino
Hubicka: Bohemian Cradle Song
La Boheme: Donde Lieta Usci (Addio Di Mimi)
La Boheme: Quando M'en Vo Soletta (Musetta's Waltz) - Alma Gluck/W.B. Rogers
La Sonnambula: Ah! Non Credea Mirarti
La Serenata - Alma Gluck/Clement Barone/Francis J. Lapitino/Howard Rattay
Snow Maiden: Gathering Berries
Snow Maiden: Song Of The Shepherd Lehl
Sadko: Les Diamants Chez Nous Sont Innombrables (Chanson Hindoue)
The Tsar's Bride: Liuba's Air

James Bowman ~ Handel English Arias / The King's Consort · King

Average customer rating:

a voice teacher and early music fan
a must for Handel devotees

James Bowman ~ Handel English Arias / The King's Consort · King
George Frideric Handel , Robert King , The King's Consort , James Bowman , and Susan Gritton
Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Arias | Opera & Vocal | Styles | Music

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ASIN: B000002ZW7
Release Date: 1995-10-17

Tracks:

The Choice Of Hercules: Yet Can I Hear That Dulcet Lay
Esther: How Can I Stay, When Love Invites
Saul: O Fairest Of Ten Thousand Fair
Belshazzar: Great God! Who, Yet But Darkly Known
Theodora: The Raptur'd Soul
Judas Maccabaeus: Father Of Heav'n
Overture To Ester: Andante, Larghetto, Allegro
Saul: O Lord, Whose Mercies Numberless
Solomon: What Though I Trace Each Herb
Belshazzar: Martial Symphony And Destructive War
Solomon: Welcome As tThe Dawn Of Day
Theodora: Kind Heaven, If Virtue Be Thy Care
Solomon: Almighty Pow'r
Haman and Mordecai: Tune Your Harps

Customer Reviews:

a voice teacher and early music fan.......2007-02-04

Of George Frederick Handel(1685-1759) of England, born Georg Friedrich Handel of Germany, an English critic wrote, "He did bestride our musical world like a Colossus." The English passion for the oratorio is largely due to Handel, who was forced to find a new style of music with which to rekindle the interest of the public. For twenty years he had been presenting operas in London, but the last seasons had been increasingly unsuccessful as audiences took against attending staged works in Italian. The prior success of 'Esther' had launched 'oratorio' in London, and set Handel on a compositional path which was to prove his principal sphere of work for the rest of his life.
Handel's oratorios, more dramatic than any previously written, were like operas,save that they were given without scenery and costumes. Moreover, the variety of moods, the quality of the melodies and the composer's unique use of the colours of the orchestra makes the whole work marvellously attractive.
This disc contains an excellent variety of tunes from the various oratorios. Most are vocal in nature, but there are 2 that are strictly instrumental: Overture to 'Esther' in 3 movements and 'Martial Symphony and Destructive Was' from 'Solomon'. I particularly enjoyed the 2 duets with Susan Gritton (soprano) and James Bowman (countertenor): 'O fairest of 10,000 Fair' from 'Saul' and 'Welcome as the dawn of day' from 'Solomon'.
James Bowman does his usual correct interpretation of all the selections. His diction is not always clear due to his somewhat 'loud' and 'muffled' tone quality. BUT having said this, I must say that he is considered by most to be one of the great singers from the UK. I just simply prefer a more refined and clear 'delivery' such as Michael Chance renders. But we all have our own preferences and that's good for the world of music appreciation. Susan Gritton's voice is clear and her diction is excellent; and Robert King with the King's Consort give their usual fine accompaniment.
Just aside for those of you who enjoy the oratorio; there are 4 excellent 'live' performances on CD from the Maulbronn Monastery conducted by Jurgen Budday with superb singing, both soloistically and chorally. They are recorded by K&K Verlagsanstalt and are available on amazon.com

a must for Handel devotees.......2000-01-13

This CD contains some of the most beautiful music from Handel's oratorios and is performed here with style, warmth, brilliance, and authenticity. The sound quality of this recording is very warm and bright (good combination)!

If you like this CD, try Handel's HEROIC ARIAS, also by James Bowman.

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