Handel: Athalia [Import]

Editorial Reviews
Album Details
Many Aled Jones Fans have Asked for Recordings of Him as a Boy Soprano. This Recording of Handel's Oratorio is One Such and it Included a Cast of Stars Including Australia's Very Own Joan Sutherland, the Baroque Soprano Par Excellence Emma Kirkby and a Conductor Very Familiar to Australians, Christopher Hogwood. It Went on to Win Many Prestigious Awards Including the Gramophone Award for Best Choral Recording and is Here Reissued by Popular Demand as a "Twofer".

Customer Reviews:

Valuable compendium.......2007-01-24

This set is extremely valuable, not only as an overview of Dame Joans career but because it contains three complete LP sets that have been very hard to find. The sets are the 2 LP French opera (operetta) set, the Mozart album and the Wagner album. Although some of these do not show her to her best advantage (the Wagner set) they all have some very beautiful things and the French items are superb. The annotations and photos are interesting as well and there are some piano songs with Bonynge that are released here for the first time along with a scene from a live Covent Garden Norma.

Rareties available on CD at last!.......2006-03-29

While Joan Sutherland has recorded a number of impressive aria collections throughout the many years of her recording career, they tend to get lost in the shuffle of the countless reissues Decca/London has endlessly repackaged. While some of the original collections have appeared intact on CD--"The Art of the Prima Donna," "The Age of Bel Canto," "Love Live Forever" (her operetta collection that was originally titled "The Golden Age of Operetta"), to name a few--others are currently represented in the CD catalogue by only a few selections on discs that also include excerpts from complete opera recordings or duplicates of selections from other original collections. As a result, it has been impossible to assemble a CD collection of her recordings without a LOT of duplication, and some of the most interesting collections are still unavailable (e.g. "Command Performance" and "Serate Musicale").

While this newest set does include a lot of bits of this and that, ranging from her very first LPs to excerpts from complete recordings most Sutherland fans already have and a few "live" performances, what is perhaps most significant about it is that it features the complete contents of the "Sutherland Sings Wagner" LP--a real repertoire departure for her--and the double-LP album called "French Opera Gala" (in the U.S.--the British title was "Romantic French Arias"), neither of which, to the best of my knowledge, has been available on CD before. "Opera News" magazine once ran an article in which they asked various stars to name the one album that they felt best represented their artistry for future generations, and Dame Joan selected the "French Opera Gala," so for Sutherland fans, this is a long-awaited treat.

I'm not going to waste space saying how miraculous I consider Dame Joan's artistry. If you are familiar with her work already, you know whether you adore her or not; and if you aren't, this massive set is probably not the best place to start (that would be "The Art of the Prima Donna" album that introduced her to most listeners decades ago)--especially since this newest set doesn't contain the lyrics, a must for newcomers. Let's hope Decca/London gets around to releasing the rest of her recordings intact instead of endlessly scrambling and repackaging the same selections over and over.

Heavenly.......2006-01-31

I first heard of Dame Sutherland while on the internet while listening to a internet radio station. I was instantly a fan, her control, technique, and tone is perfectly executed and rivals the equally fantastic Maria Callas. She has a powerful voice and presence that will evoke every emotion from her listeners. Highly recommended to all Opera Diva fans.

WHO ELSE CAN SING LIKE THIS TODAY?.......2005-04-10

This is Decca's second multi disc evaluation of this fantastic singer's long career and many recordings. True that a lot on the first set is duplicated here, but there are a few exceptions here and there that make it a worthy addition. Of particular interest are the very early items of Handel and Italian baroque arias, some forgotten song recordings and a live performance of the duet from Norma. It can't be said too many times - who can sing like this today? For sheer vocalism it's hard to find anyone on the same wavelength. This set will give very young opera goers an idea of what they missed.

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Magnificent is the word
The Magnificent Mr Handel
The Magnificent Mr. Handel
The Magnificent Mr. Handel

The Magnificent Mr. Handel

Manufacturer: Sony
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The Antiphonal Music of Gabrieli

ASIN: B0000062DM
Release Date: 1998-03-17

Tracks:

Alceste: Grande Entr
Semele: 'Where'er You Walk'
Solomon: Sinfonia: Entrance Of The Queen Of Sheba
Samson: Overture: Menuetto
Forest Music
Hercules: March
Concerto In F Major: I Pomposo
Concerto In F Major: II Allegro
Concerto In F Major: A tempo giusto ('Lift Up Your Heads')
The Triumph Of Time And Truth: Sonata
Concerto In B-Flat Major: I Ouverture
Concerto In B-Flat Major: II Allegro ma non troppo ('And the Glory of the Lord')
Concerto In B-Flat Major: III Allegro
Belshazzar: Marcial Symphony
Floridante: March No. 1
Floridante: March No. 2
Tolomeo: Overture
Il Parnasso in festa: Largo
Il pastor fido: Allegro
Ezio: March
Saul: Dead March
Ezio: March
Scipione: March
Rodrigo: Passacaglia
Judas Maccabaeus: March No. 1
Judas Maccabaeus: March No. 2
Alcina: Chorus ('Here Are the Heavens All Joyful')
Ode For St. Cecilia's Day: March
Athalia: Chorus ('The Gods, Whose Chosen Blessings Shed')
Rinaldo: March

Customer Reviews:

Magnificent is the word.......2003-04-01

For anyone seeking to explore Handel beyond his most popular works (Messiah, Royal Fireworks Music, Water Music), it would be hard to beat this collection of 30 short pieces from many sources, forming a generously filled (78:46) CD of splendid music, and demonstrating why Handel was a great and major composer, and a revered and beloved musical figure in his lifetime.

These recordings were made in the St. James Church, Great Packington, Warwickshire, England, in September, 1969, and originally released on two Columbia LPs, in 1970 and 1972. I bought and grew fond of them then, and I'm happy to see them available again on a budget-priced CD. The music here, entirely instrumental, is "culled for the most part from the operas and oratorios that were the bread-and-butter of Handel's work," to quote the liner notes. This music celebrates the grand, the impressive, the ceremonial, the magnificent side of Handel; the disc is well named. If this CD has a fault, it is that there is too much of grandeur, of splendor, of the stately (there are no less than eleven marches), and too little of the intimate, the introspective, the quiet, the meditative; it makes no attempt to strike a balance.

The engineering is good, if not exceptional; while the sound does not provide the ultimate degree of clarity and focus (not unusual in recordings made in churches), it is smooth and pleasing; these recordings carry their years honorably and wear well. Biggs's role here is a modest, supporting one (the two brief concertos included are not for organ): he plays organ continuo and occasional passages of accompaniment or decoration. His instrument is the Great Packington organ on which Handel himself performed, but it is not prominently displayed. Overall I cannot fault the idiomatic, engaging, alternately spirited or stately performances of Groves, the Royal Philharmonic, and Biggs.

These recordings predate the obsession with period instruments and the efforts to recreate the conditions of performance heard in Handel's day; they are old-fashioned, full-blooded "modern" performances on modern instruments. I find them thoroughly satisfying, and the sonorities and tonal balances more pleasing to my ears than those of period-instruments ensembles. But period-instruments purists may want to be warned away; they, however, probably will not be drawn to this kind of free-ranging anthology in the first place.

If you like baroque instrumental music, I think you'll find this CD pretty hard to resist.

The Magnificent Mr Handel.......2000-01-23

A superb recording - it simply has to be as it was recorded by the Royal Philharmonic Orchestra and conducted by the great Sir Charles Groves.

A wonderful introduction to one of the great great composers - even if you have never heard his works other than the Royal Fireworks and the Water Music this will really get you going. Lots of small snippets for the beginner and yet wonderful for all Handel enthusiasts such as me.

Wonderful for putting in your personal stereo and walking the dogs to! I doubt if Mr Handel would have entirely have approved. Very good also if you are down or tired - it perks you up.

Superb CD - a wonderful experience - nerve tingling

The Magnificent Mr. Handel.......2000-01-01

I have owned the two record set of this CD that I purchased in the early eighties. They are both well worn. This was simply the best Handel sampler I could find. And now that I own the CD - I can listen two the same tracks that were on the original recording.

This is definitely a must have for all Handel admirers. The playing is strong and inspired, and the choices for the various tracks are among the best I have hear in thirty years of Handel collecting. If you don't believe me, just sample the first track "The Entree for Alceste." It will knock your socks off!

Best of all, there are over thirty tracks of music on a CD...

HIGHLY RECOMMENDED.

The Magnificent Mr. Handel.......2000-01-01

This is definitely a must have for all Handel admirers. The playing is strong and inspired, and the choices for the various tracks are among the best I have heard in thirty years of Handel collecting. If you don't believe me, just sample the first track "The Entree for Alceste." It will knock your socks off!

Best of all, there are over thirty tracks of music.

HIGHLY RECOMMENDED.

Handel - Athalia / E. Scholl · Schlick · Holzhausen · Reinhold · Brutscher · MacLeod · Martini
Average customer rating:

Tremendously dramatic, melodious, seamless and quite unusual

wonderful!

wonderful!

Brilliant and exciting

Handel - Athalia / E. Scholl · Schlick · Holzhausen · Reinhold · Brutscher · MacLeod · Martini
George Frideric Handel , Joachim Carlos Martini , Elisabeth Scholl , Barbara Schlick , Barockorchester Frankfurt , Junge Kantorei , Friederike Holzhausen , Annette Reinhold , Markus Brutscher , and Stephan MacLeod
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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Handel: Deborah

Samson

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Handel: Susanna

ASIN: B00000DAJF
Release Date: 1998-09-29

Tracks:

No.1 Sinfonia
No.2 Aria - Josabeth
No.3a Chorus - Young Virgins/No.3b Chorus - Israelites
No.4 Aria And Chorus
No.5 Recitativo - Abner
No.6 Aria - Abner And Chorus
No.7 Recitativo - Joad
No.8 Accompagnato - Joad
No.9 Aria And Chorus - Joad
No.10 Arioso - Athalia
No.11a Recitativo
No.11b Arioso - Athalia
No.12 Chorus Of Attendants And Sidonian Priests
No.13 Recitativo - Athalia
No.14 Chorus Of Attendants And Sidonian Priests
No.15 Recitativo
No.16 Aria - Mathan
No.17 Aria - Athalia
No.18 Recitativo
No.19 Chorus Of Attendants
No.20 Recitativo Joad
No.21 Aria - Josabeth
No.22 Recitativo
No.23 Aria And Chorus
Chorus Of Israelites

Tracks:

No.24 Chorus And Aria
No.25 Aria - Josabeth
No.26 Recitativo
No.27 Aria - Abner
No.28 Recitativo - Joad
No.29 Recitativo
No.30 Aria - Joas
No.31 Recitativo
No.32 Aria - Athalia
No.33, Duet
No.34 Aria - Joas
No.35 Recitativo - Joad
No.36 Duet
No.37 Recitativo - Abner
No.38 Chorus
No.39 Arioso - Joad
No.40 Chorus Of Virgins, Priests And Levites
No.41 Accompagnato - Joad
No.42, Aria And Chorus
No.43 Recitativo
No.44 Chorus Of Virgins, Priests And Levites
No.45 Recitativo
No.46 Aria - Josabeth
No.47a Recitativo
No.47b Recitativo
No.48 Chorus And Aria
No.49 Recitativo
No.50 Aria - Abner
No.51 Recitativo
No.52 Aria - Mathan
No.53 Recitativo
No.54 Aria - Athalia
No.55 Recitativo
No.56 Duet
No.57 Recitativo - Abner
No.58 Chorus Of Young Virgins, Priests, Levites, Israelites

Amazon.com

Messiah aside, Athalia may just be the best of all Handel's Biblical oratorios--it has a compact plot (the evil queen Athalia, daughter of Jezebel, is overthrown in favor of the one descendant of King Solomon whom she hadn't managed to kill), an unusually good libretto based on Racine, choruses both poignant and stirring, and da capo arias that actually make dramatic sense. The only previous recording, Christopher Hogwood's splendid 1986 account (featuring a stellar Baroque-specialist cast headed by Emma Kirkby, with Joan Sutherland giving a creditable performance from an entirely different planet), isn't currently available--making this the only Athalia in the catalog. If you can tolerate some truly funky pronunciation from the all-German cast, the performance is terrific. The chorus and orchestra are accurate, sensitive, and (when the trumpets, horns, and drums join in) gutsy; despite their peculiar vowel sounds, the soloists are all thoroughly convincing. Special mention must be made of contralto Annette Reinhold, who is sensational as the high priest, Joad: her singing is pure, commanding, ardent, and convincingly masculine. Those who have the Hogwood recording should certainly hang onto it, but especially because of Naxos's price, anyone who loves Handel should try this. --Matthew Westphal

Customer Reviews:

Tremendously dramatic, melodious, seamless and quite unusual.......2003-07-28

Athalia was Handel's third oratorio and, like its predecessors, has as its central character a woman. Esther was the brave, gentle heroine, Deborah the inspired prophetess and leader (with Jael a tool and focus of inspiration, which the more fanatical it's hard to say) - and Athalia was the tormented tyrant.

Athalia, as a devotee of the cult of Baal, seeks the suppression of her father's faith - the suffering the Jews have endured under Athalia's harsh rule is only hinted at. It is interesting to note, in the opening scene which has the Jews preparing to celebrate Shavuot, that the power of music is seen by the regime as a dangerous threat to be suppressed much as has often been the case in recent history. There are certain differences between the story as told in Handel's oratorio, which is based upon Racine's play of the same name, and the biblical accounts of the reign and fate of Athalia - but these make for a highly dramatic, compact plot driven by some of Handel's finest and most inspired music.

Elisabeth Scholl is a convincing Athalia, relishing the dramatic ariosos and arias. I do think her final aria calls for more determination if not from her then from the orchestra, but that may be the fault of the live recording. Barbara Schlick's sweet soprano lends itself very well to Josabeth, who has saved the dead king's son from certain death by concealing his identity from Athalia. This boy, Joas, is sung by a soprano and might better be sung by a treble, considering one key scene is an exchange between these three characters.

Stephan McLeod, who sings the role of Abner, is not as refined a bass as, say, Michael George or Alan Ewing, but is certainly capable and fulfils the needs of the role. Markus Brustcher's voice has warble rather than vibrato, which is a great pity since Mathan's "Gentle airs, melodious strains" is one of the work's most pleasant arias.

Contralto Annette Reinhold sings in a truly strange manner, and were it not for the generally accented performances of the soloists, one might find it more than a little off-putting. Still, I tend to agree with Amazon.com's editorial reviewer that she is commanding, ardent, and convincingly masculine in her role, that of the High Priest (on Hogwood's recording sung by James Bowman who manages none of this, by the way).

The energy and commitment of the choir shines through the choruses, and the sound is more satisfactory than on some of Naxos' live recordings. The choruses seem particularly well-integrated, dramatically speaking.

Sometimes one can pick out particular highlights from an opera or oratorio, but in the case of Athalia, the highlights are really too many to mention, because the quality of the music is uniformly excellent, each scene packed with the colour of the stage. But listen, for example, to the duet between Josabeth and Joas, any of Athalia's arias (What scenes of horror around me rise", "My vengeance awakes me"), Mathan's "Gentle airs, melodious strains", Joad's "Jerusalem, thou shalt no more" . . . the list goes on. It's an oratorio easily appreciated in its entirety, each part flowing naturally and seamlessly from the other.

The two reasons, for which I make no apology, that I would recommend this recording over that of Hogwood are the absences of the rather talent-less, albeit popular, 'singers' David Thomas (as Mathan) and James Bowman (as the High Priest) - but, with a certain degree of reluctance: these two baneful singers are accompanied by Kirkby (of whom I'm rarely a fan), Rolfe-Johnson (whom I think is fantastic) and Sutherland (who does a surprisingly good job of the role). I would sooner give this three-and-half stars however, as this is one of just two recordings currently available, the other of which has its problems too, I'm giving it four instead of three. It's rather sad that there have been only two recordings of this, Handel's third oratorio (which was in its day the first to be a triumphant success), because its libretto is excellent, its dramatic impact tremendous, its music thoroughly brilliant - there really isn't a less than gripping moment: it deserves far more recognition.

wonderful!.......2002-06-15

Another first rate performance from the gang at Naxos. One of Handel's early Oratorios whose success would engender the likes of Messiah and Israel in Egypt. This performance has all the drama and beauty one would expect from this work, with excellent singing and original performance practice. Lines like "Blooming virgins, spotless train, tune to transport all your lays!" may bring forth a giggle from this listener, but otherwise who could complain? Informative libretto and notes.

wonderful!.......2002-06-15

Brilliant and exciting.......2000-07-19

This is an absolutely brilliant and exciting performance of this oratorio. The recording is also five stars. And at the price? Who could resist this? The work itself is typical magnificent Mr. Handel.

Handel: Messiah; Athalia; Esther; La Resurrezione

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Handel: Messiah; Athalia; Esther; La Resurrezione

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B0009A41VK
Release Date: 2005-10-11

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This is the recording of Athalia to own!
Strong Performance of Handel's 1st Great English Oratorio
Try another recording.

Handel - Athalia
George Frideric Handel , Peter Neumann , Simone Kermes , Olga Pasichnyk , Collegium Cartusianum , and Thomas Cooley
Manufacturer: MD&G Records
ProductGroup: Music
Binding: Audio CD

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Handel: Belshazzar, HWV 61
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Handel - Joshua / Kirkby, Bowman, Oliver, Ainsley, George, The King's Consort
Handel: Alexander's Feast

ASIN: B0006643RO
Release Date: 2005-01-25

Tracks:

1.Allegro/2.Grave/3.Allegro
Blooming Virgins
The Rising World Jehovah Crown'd
Tyrants Would In Impious Throngs
When He Is In His Wrath Reveal'd
1. When Storms The Proud To Terrors Doom/2. Oh Judah, Boast His Matchless Law
Your Sacred Songs
Oh Judah, Judah! Chosen Seed!
1. Oh Lord, Whom We Adore/2. Hear From Thy Mercy
What Scenes Of Horror
Oh Mathan, Aid Me
Athalia, Tremble At Thy Fate!
The Gods, Who Chosen Blessings Shed
Her Form At His Began
Cheer Her, Oh Baal
Amidst These Horrors
Gentle Airs, Melodious Strains!
Softest Sounds No More Can Ease Me
Swift To The Temple
The Traitor If You There Descry
My Josabeth!
Faithful Cares In Vain Extended
O Cease, Fair Princess
1. Gloomy Tyrants/2. Hallelujah

Tracks:

The Mighty Pow'r, In Whom We Trust
Through The Land So Lovely Blooming
Ah! Were This Land
Ah, Can'st Thou But Prove Me!
Thou Dost The Ardour
Confusion To My Thoughts!
Will God, Whose Mercies Ever Flow
Tis My Intention
My Vengeance Awakes Me
My Spirits Fail
Dear Josabeth, I Trembled
Cease Thy Anguish, Smile Once More
Joad, Ere Day Has Ended Half His Race
1. The Clouded Scene Begins To Clear/2. When Crimes Aloud For Vengeance Call/3.Rejoice, Oh Judah, In Thy God
What Sacred Horrors Shake My Breast
Unfold, Great Seer
Let Harmony
1. Jerusalem Thou Shalt No More/2. Oh Shining Mercy
Eliakim! My Father!
With Firm United Hearts
Oh Princess, I Approach Thee
Soothing Tyrant, Falsely Smiling!
Apostate Priest!
Around Let Acclamations Ring
Oh Treason, Treason!
Oppression, No Longer I Dread Thee
Where I Am?
Hark! Hark, Hark! His Thunders Round Me Roll
Yes, Proud Apostate
To Darkness Eternal
Now, Josabeth
Joys, In Gentle Trains Appearing
Rejoice, Oh Judah
Give Glory To His Awful Name

Customer Reviews:

This is the recording of Athalia to own! .......2006-02-03

I have three recordings of this outstanding work, and this one is by far the best. Ignore the review regarding the sound quality--he must be listening on faulty speakers, for my recording is superb.

Strong Performance of Handel's 1st Great English Oratorio.......2005-05-22

Please note: I believe the previous reviewer's comments concerning sound quality don't refer to this recording at all, but to the performance (under Joachim Carlos Martini) on Naxos 8.554364-65. This version, under Peter Neumann, has warm, well-focused acoustics, perhaps a bit more reverberant and 'churchy' than one would ideally like, but flattering to both voices & orchestra.
This is in fact the first serious challenge to Christopher Hogwood's landmark 1st recording; Naxos has its attractions, not least the low price, but overall this is in a different league. 'Athalia' is Handel's 3rd English oratorio, arguably the 1st completely successful one both as music & drama. Like 'Esther,' it's based on a play by Jean Racine which sought to emulate the ancient Greek tragedy, thus providing composers with ready-made choral interludes. (In additional to the original Moreau score, both Mendelssohn and the 20th century Swiss composer Frank Martin set Racine's verses for productions of the play.) The libretto for 'Athalia' presents a sort of Reader's Digest version of the play; Handel's audience would have filled in the back story and plot details from their knowledge of the Bible. While later Handel works such as 'Samson,''Saul,''Belshazzar,''Theodora' & 'Jeptha' delve deeper, the characters here are firmly & vividly drawn, not least the guilt-ridden 'apostate Queen' herself, whose downfall forms the central action of the piece.
Conducting, choral & orchestral work are all 1st rate, & the cast of soloists is generally strong. The standouts are soprano Simone Kermes (Athalia), who delivers a strongly dramatic reading, & bass Wolf Matthias Friedrich (Abner). Another supporting singer, tenor Thomas Cooley (Mathan) is also excellent, & the only native English-speaker. In the central soprano role of Josabeth, Olga Pasichnyk sounds consistently lovely, but doesn't always summon the requisite fire for the character's feistier moments, such as the indignant 'Soothing tyrant.' Countertenor Martin Oro is not especially distinguished as Joad (one of the few leading Handel roles actually originated by a countertenor) & Trine Wilsberg Lund, a woman in a boy soprano role (Joas) is fine, although one misses the contrasting timbre of a treble's voice, especially in the key Act II scene with all 3 sopranos. The English is accurate, if occasionally accented, & not always ideally clear. Overall, however, under Neumann's acute direction, it's an exciting & deeply felt performance.
Hogwood's strongly cast version still deserves consideration, however. He may not be as dramatically inclined a conductor, but he has all-English-speaking forces, which many may consider a plus. Another factor is that the 3 soprano roles are cast with far more contrasted voices: there's a boy soprano (Aled Jones) & 2 mightily different women, Emma Kirkby (Josabeth) & Joan Sutherland (Athalia). The latter may be audibly past her prime in spots, with occluded or unsteady tone, but she brings both great musical & dramatic authority to the part, & as was invariably the case when she worked under conductors other than her husband, her diction is far clearer than one might expect.

Try another recording........2005-02-28

Gorgeous Handelian score, but the acoustics of this performance are just awful. Two of us listened for 10 minutes before we could understand a single word! That word was "Silence!", and it seemed appropriate to stop listening at that point.

Average customer rating:

A Sutherland/Kirkby Treasure

Handel: Athalia
Sutherland , Kirkby , Bowman , Jones , Johnson , Hogwood , and Academy of Ancient Music
Manufacturer: Decca/Universal
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000B1677
Release Date: 2003-12-05

Tracks:

Overture In G Major
Act I, "Blooming Virigns, Spotless Train", Air (Josabeth)
Act I, "The Rising World Jehovah Crown'd", Chorus
Act I, "When He Is In His Wrath Reveal'd", Recitative (Abner)
Act I, "When Storms The Proud To Terrors Doom", Solo (Abner)
Act I, "Your Sacred Songs Awhile Forbear", Recitative (Joad)
Act I, "Oh Judah! Chosen Seed!", Recitative (Joad)
Act I, "Oh, Lord, Whom We Adore", Solo (Joad)
Act I, "What Scenes Of Horror Round Me Rise!", Recitative (Athalia)
Act I, "Oh Mathan, Aid Me To Control", Recitative (Athalia, Mathan)
Act I, "Oh Athalia, Tremble At Thy Fate!", Recitative (Athalia)
Act I, "The Gods, Who Dhosen Blessings Shed", Chorus
Act I, "He Form At This Began To Fade", Recitative (Athalia)
Act I, "Cheer Her, O Baal, With A Soft Seren", Chorus
Act I, "Amidst These Horrors That My Soul Dismay'd", Recitative (Athalia, Mathan
Act I, "Gentle Airs, Melodious Strains!", Air (Mathan)
Act I, "Softest Sounds No More Can Ease Me", Air (Athalia)
Act I, "Swift To The Temple Let Us Fly To Know", Recitative (Mathan, Abner)
Act I, "The Traitor If You There Descry", Chorus
Act I, "My Josabeth! The Grateful Time Appears", Recitative (Joad, Josabeth)
Act I, "Faithful Cares In Vain Extended", Air (Josabeth)
Act I, "O Cease, Fait Princess, To Indulge Your Woe", Recitative (Abner, Joad)
Act I, "Gloomy Tyrants! We Disdain", Air (Joad)
Act I, "Alleluia", Chorus
Act Ii, "The Mighty Pow'r, In Whom We Trust", Chorus
Act Ii, "Through The Land, So Lovely Blooming", Air (Josabeth)
Act Ii, "Ah! Were This Land From Proud Oppression Freed", Recitative (Abner, Joa
Act Ii, "Ah, Canst Thou But Prove Me!", Air (Abner)
Act Ii, "Thou Dost The Ardour That I Wish Display", Recitative (Joad)
Act Ii, "Confusion To My Thoughts!", Recitative (Athalia, Josabeth, Joad)
Act Ii, "What Can The Faithful Fear", Recitative (Joas)
Act Ii, "Will God, Whose Mercies Ever Flow", Air (Joas)
Act Ii, "'Tis My Intention, Lovely Youth", Recitative (Athalia, Joas)
Act Ii, "My Vengeance Awakes Me", Air (Athalia)
Act Ii, "Hence, I Hasten, Then Fear For Thy Danger!", Air (Athalia)
Act Ii, "O Queen, Now Let Your Pow'r Be Known", Recitative (Mathan)
Act Ii, "My Vengeance Awakes Me", Air (Mathan)
Act Ii, "My Spirits Fail, I Faint", Duet (Josabeth, Jonas)
Act Ii, "Dear Josabeth, I Trembled Whilst Thy Woe", Recitative (Joad)
Act Ii, "Cease Anguish, Smile Once More", Duet (Joad)
Act Ii, "Joad, Ere Day Has Ended", Recitative (Abner)
Act Ii, "The Clouded Sene Begins To Clear", Chorus
Act Iii, "What Sacred Horrors Shake My Breast!", Recitative (Joad)
Act Iii, "Unfold, Great Seer, What Heav'n Imparts", Chorus
Act Iii, "Let Harmony Breathe Soft Around", Recitative (Joad)
Act Iii, "Cor Fedele, Spera Sempre", Air (Joad)
Act Iii, "Jerusalem, Thou Shalt No More", (Joad)
Act Iii, "Eliakim! My Father!", Recitative (Joas, Josabeth)
Act Iii, "With Firm United Hearts", Chorus
Act Iii, "Oh Princess, I Approach Thee To Declare", Recitative (Mathan, Josabeth
Act Iii, "Soothing Tyrant, Falsely Smiling", Air (Josabeth)
Act Iii, "Happy Judah, In Every Blessing", Air (Josabeth)
Act Iii, "Apostate Priest!", Recitative (Joad, Mathan)
Act Iii, "Oh Bold Seducer, Art Thou There?", Recitative (Athalia, Joad)
Act Iii, "Around Let Acclamations Ring", Solo (Joad)
Act Iii, "Oh Treason! Impious Scene!", Recitative (Athalia, Joad)
Act Iii, "Oppression, No Longer I Dread Thee", Air (Abner)
Act Iii, "Where Am I?", Recitative (Athalia, Mathan)
Act Iii, "Hark! His Thunders Round Me Roll", Arioso (Mathan)
Act Iii, "Yes, Proud Apostate, Thou Shalt Fall", Recitative (Joad, Athalia)
Act Iii, "To Darkness Eternal And Horrors Infernal", Air (Athalia)
Act Iii, "Now, Josabeth, Thy Fears Are O'er", Recitative (Joad, Josabeth)
Act Iii, "Joys, In Gentle Trains Appearing", Duet (Joad, Josabeth)
Act Iii, "Angelico Spendor", Air (Josabeth)
Act Iii, "Rejoice, Oh Judah, This Triumphant Day!", Recitative (Abner)
Act Iii, "Give Glory To His Awful Name", Chorus
"When Storms The Proud To Terrors Doom", Supplemental Duet (Joad)

Album Details

Many Aled Jones Fans have Asked for Recordings of Him as a Boy Soprano. This Recording of Handel's Oratorio is One Such and it Included a Cast of Stars Including Australia's Very Own Joan Sutherland, the Baroque Soprano Par Excellence Emma Kirkby and a Conductor Very Familiar to Australians, Christopher Hogwood. It Went on to Win Many Prestigious Awards Including the Gramophone Award for Best Choral Recording and is Here Reissued by Popular Demand as a "Twofer".

Customer Reviews:

A Sutherland/Kirkby Treasure.......2005-04-05

This recording of Handel's first "hit" oratorio, conducted by the always-masterful Christopher Hogwood, features the unusual pairing of Dame Joan Sutherland and Emma Kirkby. When Joan recorded the title role, she was at the final stage of her singing career, past her prime. Yet, curiously enough, at this late stage she was able to cope with some of the problems that plagued her in the sixties and seventies. She finally became secure in her bottom register, and sharpened her cloudy diction. Her opening recitative, What Horrors Round Me Rise, will stun those who are accustomed to her mushy, garbled words.

On the whole, this is a brilliant, wonderful performance from La Stupenda. The only drawback is her slow-moving first aria. She temporarily reverts back to her mushy diction, and there is a distinct wobble in her voice, typical of recordings she did in the last five years of her recording career. However, in her confrontation in the Act II with Josabeth (Emma Kirkby), she is again in fine form, and disperses her rage aria, My Vengeance Awakes Me with stunning bravura. It's as if the years melted away. Sure, it is closely miked, but her coloratura is first-rate, every high note perfectly pitched, with a multitude of interpolations and roulades. It's beyond me why I've never seen this aria on any Joan Sutherland aria recital compelation.

As for Emma Kirkby, she is a godsend. She came along at the right time, as more and more conductors were turning their attention to baroque music. Since she always used a "light", vibrato-less voice, she sounds basically the same today as she did two decades ago. Really, just about everything this woman recorded is worth buying, and this is no exception. Her Act II aria is absolute perfection. She showers you with her diamond-clear, dazzling voice with some of the most radiant top notes I have ever heard.

The rest of the cast varies in quality. Aled Jones, the boy soprano, has a quivery voice, that sort of puts me off. But, for being so young, he turns in a credible performance. James Bowman's legacy has been far outshone by Andreas Scholl and David Daniels, but this performance is worthwhile, even if he has that "nagging" edge to his singing.

P.S.- As a bit of trivia for Sutherland fans, I looked up what she had to say about this recording in her autobiography, A Prima Donna's Progress. She fusses about the baroque-era instuments going constantly out of tune. She also writes about being "musically overwhelmed" at this time in her career, and declares that she would have rather been at the beach with her family, rather than in the recording studio!!! Thankfully for us, she didn't go to the beach, and gave us what is one of her best late-career performances.

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Getting Excited About Baroque Opera

Handel: Arias for Montagnana
George Frideric Handel , Nicholas McGegan , David Thomas , and Philharmonia Baroque Orchestra
Manufacturer: Harmonia Mundi
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

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

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B0000007CG
Release Date: 1995-12-15

Tracks:

Arias for Montagnana: Se un bell'ardire
Arias for Montagnana: Nasce al bosco
Arias for Montagnana: Giisonar
Arias for Montagnana: Fra l'ombre e gli orrori
Arias for Montagnana: Sento il cor
Arias for Montagnana: Tiene Giove
Arias for Montagnana: Pluck root and branch
Arias for Montagnana: Turn not, O Queen
Arias for Montagnana: How art thou fall'n
Arias for Montagnana: Ferito son d'Amore
Arias for Montagnana: Piangi pur
Arias for Montagnana: Lascia Amor
Arias for Montagnana: Sorge infausta una procella
Arias for Montagnana: Awake the ardour
Arias for Montagnana: Swift inundation
Arias for Montagnana: Tears, such as tender fathers shed
Arias for Montagnana: Ah, canst thou but prove me!

Customer Reviews:

Getting Excited About Baroque Opera.......2006-06-17

George Frideric Handel (1685 – 1759), Arias for Montagnana. Performed by David Thomas, bass, and the Philharmonia Baroque Orchestra, San Francisco, conducted by Nicholas McGegan. Recorded in September, 1989, at Lucas Studios, San Rafael, California.
Harmonia Mundi USA HMU 907015 (and also available on HMX 2907171.74). Total time: 67’40”.

The story of Handel’s opera business in Georgian London is one of jealousy, intrigue, rivalry, factions and, occasionally, of singers coming to blows. No wonder, then, that the composer had, over the years, to replace singers who had left his troupe, often enough to join rival organizations. Italian bass Montagnana was with Handel from 1731 to 1733 and again, briefly, in 1737 – 1738. As with his other “stars”, Handel composed music specially for him, giving him roles which would best show off his abilities. These appear to have been considerable, with Handel not only writing new music but reviving arias from his Italian days with their incredible leaps and amazingly deep notes: “Fra l’ombre e gli orrori”, although here sung in the Montagnana version from the opera “Sosarme”, is better known as an aria of Polifemo from the cantata “Aci, Galatea e Polifemo” (1707). This is not the only instance of self-borrowing on this disc. The Italian version of “O ruddier than the cherry” from “Acis and Galatea” (1732 version) – presumably recomposed to avoid Montagnana having to sing in English with his heavy Italian accent – is, in fact, based on music by Keiser, as Andrew Porter is at pains to point out.

Opinions differ as to whether David Thomas is an ideal modern interpreter for these Da capo arias. Whereas Harmonia Mundi quote the late and highly respected Stanley Sadie of “Gramophone” magazine with high praise (“Thomas has a formidable range, a dazzling technique […] and a tone that is full and resonant yet always clearly defined”), others have been inclined to see Thomas’s timbre as problematical and to pour their praise instead (and with every justification) on the tremendous sound and playing of the Philharmonia Baroque Orchestra. I suppose this is, like so much in music, a matter of taste – personally, I find David Thomas’s voice a little too throaty, in places almost sounding as though he could do with a throat lozenge and a week off work!

Having said that, however, this is still a highly entertaining disc. Thomas had recorded some of the arias here a few years earlier (with the Academy of Ancient Music, conducted by Christopher Hogwood, in “Esther” and “Orlando”). Others are new, and, as in the case of the excerpts from “Ezio”, “Tolomeo” and “Deborah”, rarely heard today. With the exception of a little obtrusive “pre-echoing” at one or two points, the recorded sound is magnificent (compliments to engineer Peter McGrath), enabling one to hear perfectly every modulation of Thomas’s voice, but also those glorious strings, trumpets and other period instruments played so beautifully by the Philharmonia Baroque. This is truly music that can get me excited about baroque opera!

Average customer rating:

Chill with Handel
Olga Pasichnyk , Claron McFadden , George Frideric Handel , Bradley Creswick , Jeremy Summerly , Joachim Martini , Jozef Kopelman , Nicholas Ward , Nils-Erik Sparf , Roy Goodman , David Bates , Capella Istropolitana , Drottningholm Court Baroque Ensemble , London Baroque , Royal Academy Consort , Scholars Baroque Ensemble , The City of London Sinfonia , Anthony Camden , Julia Girdwood , Ulf Bjurenhed , European Union Baroque Orchestra , Frankfurt Baroque Orchestra , Northern Sinfonia Chorus , Simon Lindley , László Czidra , Elisabeth Scholl , Elizabeth Franklin-Kitchen , and Helen Parker
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

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

General | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

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

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

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

4-for-3 Classical | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music

4-for-3 Opera & Vocal | 4-for-3 Music | Stores | Music
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ASIN: B0000BX5KU
Release Date: 2004-04-20

Tracks:

Aria - Felicissima Quest'alma - Olga Pasichnyk
Pifa - The Scholars Baroque Ensemble
Air - Niklas Eklund
Sarabande - Anthony Camden
Siciliana - Zsuzsa Pertis
Larghetto - Capella Istrpolitana
Beauty And Pleasure - Claron McFadden
Largo - Capella Istropolitana
Andante - Simon Lindley
I Know That My Redeemer Liveth - The Scholars Baroque Ensemble
Larghetto Affettuoso - Capella Istropolitana
My Heart Is Inditing (HWV 261) - Jeremy Summerly
Andante - Drottningholm Baroque Ensemble
Joys, In Gentle Trains - Barbara Schlick
Largo - Capella Istropolitana
He Shall Feed His Flock - The Scholars Baroque Ensemble
Allegro - Simon Lindley
Lascia Ch'io Pianga - London Baroque

Handel - Athalia / Joan Sutherland, Kirkby, Bowman, A. Jones, Rolfe Johnson, AAM, Hogwood

Average customer rating:

DAUGHTER OF JEZEBEL

Handel - Athalia / Joan Sutherland, Kirkby, Bowman, A. Jones, Rolfe Johnson, AAM, Hogwood
George Frideric Handel , Christopher Hogwood , Joan Sutherland , Emma Kirkby , The Academy of Ancient Music , New College Choir , James Bowman , Anthony Rolfe Johnson , and Aled Jones
Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

General | Classical | Styles | Music
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Rinaldo

ASIN: B00000E37W
Release Date: 1990-10-25

Tracks:

Act One, Scene 1: Sinf - The Academy Of Ancient Music/Christopher Hogwood
Act One, Scene 1: Aria: Blooming Virgins, Spotless Train - Emma Kirkby
Act One, Scene 1: Chor: The Rising World Jehovah Crown'd - Chor Of New College, Oxford/Edward Higginbottom
Act One, Scene 1: Solo & Chor: Tyrants Would In Impious Throngs - Emma Kirkby/Chor Of New College, Oxford/Edward Higginbottom
Act One, Scene 1: Recitative: When He Is In His Wrath Reveal'd - David Thomas
Act One, Scene 2: Recitative: Your Sacred Songs Awhile Forbear - James Bowman
Act One, Scene 3: Recitative: What Scenes Of Horror Round Me Rise! - Joan Sutherland
Act One, Scene 3: Chor: The Gods, Who Chosen Blessings Shed - Chor Of New College, Oxford/Edward Higginbottom
Act One, Scene 3: Chor: Cheer Her, O Baal - Chor Of New College, Oxford/Edward Higginbottom
Act One, Scene 3: Aria: Gentle Airs, Melodious Strains! - Anthony Rolfe Johnson
Act One, Scene 3: Aria: Softest Sounds No More Can Ease Me - Joan Sutherland
Act One, Scene 3: Chor: The Traitor If You There Descry/Scene 4: Recitative: My Josabeth!... - Chor Of New College, Oxford/Edward Higginbottom/James Bowman
Act One, Scene 4: Aria: Faithful Cares In Vain Extended - Emma Kirkby
Act One, Scene 4: Aria: Gloomy Tyrants, We Disdain - James Bowman

Tracks:

Act Two, Scene 1: Chor: The Mighty Pow'r - Chor Of New College, Oxford/Edward Higginbottom
Act Two, Scene 1: Aria: Through The Land So Lovely Blooming - Emma Kirkby
Act Two, Scene 1: Aria: Ah Canst Thou But Prove Me!/Scene 2: Recitative: Confusion To My Thoughts! - David Thomas/Joan Sutherland
Act Two, Scene 2: Aria: Will God, Whose Mercies Ever Flow - Aled Jones
Act Two, Scene 2: Aria: My Vengeance Awakes Me - Joan Sutherland
Act Two, Scene 2: Duet: My Spirits Fail, I Faint, I Die!/Scene 3: Recitative: Dear Josabeth - Emma Kirkby/Aled Jones/James Bowman
Act Two, Scene 3: Duet: Cease Thy Anguish, Smile Once More - James Bowman/Emma Kirkby
Act Two, Scene 3: Chor: The Clouded Scene Begins To Clear - Chor Of New College, Oxford/Edward Higginbottom
Act Three, Scene 1: Recitative: What Sacred Horrors Shake My Breast! - James Bowman
Act Three, Scene 1: Chor: Unfold, Great Seer, What Heav'n Imparts - Chor Of New College, Oxford/Edward Higginbottom
Act Three, Scene 1: Recitative: Let Harmony Breathe Soft Around - James Bowman
Act Three, Scene 1: Chor: With Firm United Hearts/Scene 2: Recitative: O Princess, I Approach Thee - Chor Of New College, Oxford/Edward Higginbottom/Anthony Rolfe Johnson
Act Three, Scene 2: Aria: Soothing Tyrant, Falsely Smiling!/Scene 3: Recitative: Apostate Priest!... - Emma Kirkby/James Bowman/Joan Sutherland
Act Three, Scene 4: Chor: Around Let Acclamations Ring - Chor Of New College, Oxford/Edward Higginbottom
Act Three, Scene 4: Aria: Oppression, No Longer I Dread Thee - David Thomas
Act Three, Scene 4: Aria: Hark! His Thunders Round Me Roll - Anthony Rolfe Johnson
Act Three, Scene 4: Aria: To Darkness Eternal - Joan Sutherland
Act Three, Scene The Last: Recitative: Now, Josabeth, Thy Fears Are O'er! - James Bowman
Act Three, Scene The Last: Chor: Give Glory To His Awful Name - Chor Of New College, Oxford/Edward Higginbottom

Amazon.com essential recording

Messiah is the best known of Handel's oratorios, but it's far from typical. More common are Old Testament narratives such as Israel in Egypt, Joshua, and Saul. One of Handel's finest such efforts is Athalia, a tightly constructed, vivid retelling of the downfall of tyrannical Queen Athalia, daughter of Jezebel and worshiper of Baal. This superb 1985 recording was controversial in its initial release, due to the casting in the title role of the soon-to-retire Joan Sutherland--not the diva you'd expect to find starring in a period-practice Handel performance. Dame Joan doesn't exactly fit in with the baroque instruments (she overwhelms the obbligato flute in one aria) or with her colleagues (all Hogwood regulars), but her performance works: the tormented Athalia comes off as a creature very much separated from those around her, and Sutherland's notoriously mushy diction and inept acting are replaced by clear enunciation and real dramatic involvement. Anthony Rolfe Johnson, James Bowman (in unusually good voice), David Thomas, and the young Aled Jones all do sterling work as well. Then there's the radiant Emma Kirkby, who sings her high-flying, florid role with remarkable clarity, precision, and imagination. Check out her opening aria, "Blooming virgins": you won't find a better example of how to embellish a da capo aria--or how to transform a simply lilting song into a thrilling showpiece. --Matthew Westphal

Customer Reviews:

DAUGHTER OF JEZEBEL.......2004-03-28

This welcome reissue comes under the auspices of The Gramophone magazine, which had given it their choral award in 1987. The Gramophone was founded originally by Sir Compton Mackenzie (author of Whisky Galore) and has thrived throughout my lifetime as a reliable source of informed comment on and evaluation of classical music on record. I can't now remember, supposing I even knew, what other runners there may have been in that particular stakes, but there will not have been many better choral sets than this in most years.

Athalia was written in 1733 and received its first performance in Oxford's Sheldonian theatre, where commemorative performances still take place. It is based on Racine's Athalie, the English adaptation having been given, regrettably, to Samuel Humphreys. Humphreys was by no means the equal of Morell or Jennens who collaborated with Handel on Theodora and on Saul and Samson respectively. He was a fourth-rate hack, representative of the lowest common denominator of 18th century English poetry, and his vocabulary and diction are as trite as can be. Nevertheless the strength and simplicity of Racine's basic plot is still sufficient to provide Handel with a good enough foundation for his oratorio. Athalia was a tyrannical queen, a worshipper of Baal who had established domination over the Jews, the daughter of Jezebel who visited her in a dream and gave her the premonition of her impending overthrow and death. There are only six characters in total, plus of course the chorus, and the most significant of these other than Athalia is the boy Joas, the true king of Judah.

The casting of these two characters, who dominate the story although they do not have the largest share of the music, is what makes all the difference to a performance of Athalia. Joas is sung by the (then) boy treble prodigy Aled Jones, who now fronts a maudlin piece of Sunday evening religiosity known as Songs of Praise. For the evil queen someone had the inspired idea of inviting Joan Sutherland to take the part. She is a great Handelian of course, but an unfamiliar figure in Ancient Music circles. The role calls for a diva, someone with a big voice and a background in opera. Thus cast, the queen is admirably contrasted with the clear, bright voice of Emma Kirkby as Josabeth and the surprisingly strong treble tone of Aled Jones. The other parts are taken by the familiar cast of James Bowman, Anthony Rolfe Johnson and David Thomas with the choir of New College, Oxford, and the period-instrument ensemble is drawn from the Academy of Ancient Music under Hogwood. Here Hogwood does not, as he famously did in his epoch-marking Messiah, seem to be after speed records. The harpsichord continuo is fairly prominent, which I expect will not suit everyone, but it is done with predictable proficiency by Alistair Ross.

Tracks:

Jeptha: (Moderato) - Allegro - Lentement - Orch Baroque De Montreal/Joel Thiffault
Jeptha: Menuet - Orch Baroque De Montreal/Joel Thiffault
Lotario: (Moderato) - Allegro - A Tempo Ordinario - Orch Baroque De Montreal/Joel Thiffault
Lotario: (Moderato) - Orch Baroque De Montreal/Joel Thiffault
Judas Maccabaeus: (Moderato) - Allegro - Lentement - Orch Baroque De Montreal/Joel Thiffault
Alcina: (Moderato) - Allegro - Orch Baroque De Montreal/Joel Thiffault
Alcina: Musette. Un Peu Lentement - Orch Baroque De Montreal/Joel Thiffault
Alcina: Menuet. Allegro, E Forte - Orch Baroque De Montreal/Joel Thiffault
Ottone: (Moderato) - Allegro - Orch Baroque De Montreal/Joel Thiffault
Ottone: (Gavotte) - Orch Baroque De Montreal/Joel Thiffault
Ottone: (Allegro) - Orch Baroque De Montreal/Joel Thiffault
Athalia: Allegro - Grave - Allegro - Orch Baroque De Montreal/Joel Thiffault
Il Pastor Fido: (Moderato) - (Allegro) - Lentement - Washington McClain/Emlyn Ngai
Il Pastor Fido: Largo - Washington McClain/Emlyn Ngai
Il Pastor Fido: Allegro - Washington McClain/Emlyn Ngai
Il Pastor Fido: (Menuet) - Washington McClain/Emlyn Ngai
Il Pastor Fido: Adagio - Washington McClain/Emlyn Ngai
Il Pastor Fido: (Allegro) - Washington McClain/Emlyn Ngai

Customer Reviews:

GHASTLY PERFORMANCES.......2004-04-24

Obviously this group doesnt understand Handel! Total waste of money!!! For a moment I thought there was a fault with my equipment. There are so many better recordings to buy thank this.

Jarring and Bizarre Performances.......2000-12-18

I have been listening to Handel's overtures for decades and they are among my favorite pieces. I have dozens of recordings of them, both as collections and as part of the complete works they preface. I bought this disc for my son, presuming he would enjoy them too. Well, this one stays in my collection, because I find it hard to imagine someone liking this music after listening to what is done to it on this disc. The instrumentalists are certainly competent for the most part, and deserve a medal for doubtlessly doing their best to execute M. Thiffault's desires. So what's wrong? Try listening to any track and you will see. We have jarring, surge and halt rhythmns, new phrases beginning almost in the middle of the previous ones, bizarre ritards and accelerandos, inexplicable "hiccups" that pop up in the strangest places. Often, if it weren't for the pitches staying the same, you would swear someone had gummed up your CD player so that it sounds like an old LP played on a turntable with a worn belt. What this most reminds me of is the pre-1960 way of doing Handel-- i.e., before the age of the baroque revival, but unlike those conductors who saw Handel through a Wagnerian lens, M. Thiffault seems to aim at an impressionistic approach to the music where rhythms are as unsteady as Wagner's tonalities. Handel's notes are all there, and there are some nice ornamental flourishes on occasion, but it's not the Handel that I know and love. While most of the music is painful to listen to, there are a few moments of eloquence in the slow movements, and even some worthy ideas now and then. But these are very rare. I do appreciate conductors that try to "think outside the box" and there sure has been a box for Handel's overtures, but this is more of an attack on the music than a performance. I'd be curious to see if listeners unfamiliar with this music (or especially Handel) have the same reaction-- or is it just that I'm trapped into the conventional mode of hearing these pieces? I don't think so. Meanwhile, to hear what these pieces really have to offer, stick with the likes of Pinnock, McGegan, Leppard, Mackerras, Gardiner, Palmer, Rousset, Hickox, Minkowski, Christie, McCreesh, King, Corboz-- well, the list goes on.

Track Listings:

Track Listings

track listings

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