L'Allegro, Handel's experimental ode/oratorio hybrid, is the least obviously theatrical of ... more
his vocal works (choreographer Mark Morris made a delightful but somewhat obvious ballet out of it by visually illustrating all the musical images). There are no clashes of personality or dramatic dilemmas such as you find in the operas and oratorios, and thus the music itself has to provide the structure and coherence. The brilliance of this recording lies in the freshness of approach that director John Nelson brings to the score, and the lively creativity with which it has been recorded. There are some astonishing effects, such as a haunting mix of pizzicato bass, string harmonics and damped harpsichord in the "far-off curfew" number, a beautiful and crisp carillon obbligato in the "merry bells" movement, and a great organ solo to conjure up the consolations of religion in the tenor solo "There let the pealing organ blow". The singing is gorgeous, especially the almost sinfully sumptuous sound of David Daniel's rich countertenor and Ian Bostridge's clear, athletic tenor. The choral numbers are excellent, and the non-authentic instrument orchestra uses period phrasing with perky sensitivity. --Warwick Thompson
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L'Allegro, Handel's experimental ode/oratorio hybrid, is the least obviously theatrical of ... more
his vocal works (choreographer Mark Morris made a delightful but somewhat obvious ballet out of it by visually illustrating all the musical images). There are no clashes of personality or dramatic dilemmas such as you find in the operas and oratorios, and thus the music itself has to provide the structure and coherence. The brilliance of this recording lies in the freshness of approach that director John Nelson brings to the score, and the lively creativity with which it has been recorded. There are some astonishing effects, such as a haunting mix of pizzicato bass, string harmonics and damped harpsichord in the "far-off curfew" number, a beautiful and crisp carillon obbligato in the "merry bells" movement, and a great organ solo to conjure up the consolations of religion in the tenor solo "There let the pealing organ blow". The singing is gorgeous, especially the almost sinfully sumptuous sound of David Daniel's rich countertenor and Ian Bostridge's clear, athletic tenor. The choral numbers are excellent, and the non-authentic instrument orchestra uses period phrasing with perky sensitivity. --Warwick Thompson
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Advantages: Fleming is sublime, well sung throughout Disadvantages: Live recording is slightly noticeable in places
Despite being one of the most prolific composers of opera and very successful in his own time, Handel operas have remained largely neglected in the operatic repertoire until fairly recently with the Handel revival that began in the '60s. Because of this, if you're looking for recordings of Handel operas there are often not too many to choose from and to my knowledge there are only 3 recordings available of Alcina: one with Joan Sutherland in the title role, one with Renee Fleming, and one with Arleen Auger. I am eagerly awaiting the release this month of another recording with Joyce DiDonato in the title role - possibly an unorthodox choice as a mezzo soprano, but one of my favourite singers.
Alcina tells the story of a sorceress (Alcina herself) who seduces every man who dares to set foot on her island. However, Alcina is fickle ...
bubblegum_princess 30.03.2009
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Ciao members have rated this review on average: very helpful Review of Handel: Alcina
Scotsman David McVicar has blazed a spectacular trail in his fabulous staging of this Baroque opera seria for the 2005 Glyndebourne Festival. His starting material is Georg Frideric Handel?s formidable, four-hour-long ?Giulio Cesare in Egitto? (?Julius Caesar in Egypt?; also known simply as ?Giulio Cesare?), with libretto by Nicola Francesco Haym, after Giacomo Grancesco Bussani?s work of the same name. The sheer length of the piece, with its typically Baroque musical da capo repeats of many verses can easily render this work into a completely boring and tedious affair. However, as you will see for yourself, ?boring? and ?tedious? will hardly apply to this particular staging as conceived by David McVicar and friends. Mr McVicar had the rare privilege of hand-picking his entire cast, and the wisdom of his choices shows clearly in ...
Advantages: Handel's music, Padmore's tonal beauty, excellent Manze & English Concert. Disadvantages: Too much uniformity in rhythm, volume and tone.
British tenor Mark Padmore has stolen my heart with his sheer tonal beauty and cool, suave delivery on this disc of Handel arias, 'As steals the morn' from Harmonia Mundi. This recent release (4 February 2007 in the UK) is a collection of songs, recitatives and airs by German-born English composer, George Frideric Handel, taken from his operas, Alceste, Tamerlano and Rodelinda, and oratorios, Il Trionfo del Tempo e del Disinganno, Semele, Samson, Esther, Jephtha and L'Allegro, il Penseroso ed il Moderato.
ON MARK PADMORE?S SOOTHING TONAL BEAUTY (AND HIS LOOKS AREN'T TOO SHABBY, EITHER).
Mr Padmore sings with such ease and delicacy that every note becomes a soothing balm and a restorative for the droopy soul. Melismas (ornamental phrase of several notes sung to one syllable) are few and far between, and present small difficulty ...
Jennifer Smith (Soprano); Maldwyn Davies (Tenor); Marie McLaughlin (Soprano); Martyn Hill (Tenor); Michael Ginn (Treble/boy soprano)
Orchestra / Ensemble(s)
Monteverdi Choir; English Baroque Soloists Orchestra
Date of Release
04/1985
Label / Distributor
Erato / TEN
Pieces in Set
2
Running Time
2 hours 56 minutes
Genre(s)
Vocal and choral
Producer
Michel Garcin
SPAR Code
ADD
EAN
22924537721
Catalogue Number
2292
Work 1
Work Title
(L')Allegro, il penseroso ed il moderato, HWV55
Excerpt(s)
1. PART 1 - Hence loathed melancholy 2. Hence vain deluding joys 3. Come, thou Goddess 4. Come, rather, Goddess 5. Haste thee, nymph 6. Haste thee, nymph (chorus) 7. Come, and trip it 8. Come, pensive nun 9. Come, but keep thy wonted state; Join with thee 10. Hence loathed Melancholy; And if I give the honour due 11. First, and chief, on golden wing; Sweet bird 12. If I give thee honour due 13. Oft on a plat of rising ground 14. Far from all resort of Mirth 15. If I give thee honour due; Let me wander, not unseen; Thee, Chauntress, oft the woods among 16. Straight mine eyes 17. Or let merry bells; And young and old come 18. PART 2 - Hence, vain deluding joys 19. Thus night oft see me 20. Populous cities 21. There let Hymen oft appear 22. Me, when sun begins to fling 23. I'll to the well-trod stage anon 24. And ever against eating cares 25. Orpheus 'self may heave his head' 26. These delights if thou canst give; These delights (chorus) 27. But let my due feet never fail 28. There let the pealing organ blow; And let their sweetness 29. May at last my weary age; These pleasures, Melancholy, give; These pleasures (chorus) 30. PART 3 - Hence, boast not; All this company serene 31. Come, with gentle hand restrain 32. No more short life 33. As steals the morn 34. Thy pleasures, Moderation, give
Composer
George Frideric Handel (1685 - 1759)
Genre
Vocal & Choral
Date Written
1740
Date Recorded
1980
Conductor
Sir John Eliot Gardiner
Orchestra / Ensemble
English Baroque Soloists Orchestra
Orchestra / Ensemble
Monteverdi Choir
Main Performer
Jennifer Smith (Soprano), Maldwyn Davies (Tenor), Marie McLaughlin (Soprano), Martyn Hill (Tenor), Michael Ginn (Treble/boy soprano), Patrizia Kwella (Soprano), Stephen Varcoe (Baritone)
Opera Part(s)
Jennifer Smith, Maldwyn Davies, Marie McLaughlin, Martyn Hill, Michael Ginn, Patrizia Kwella, Stephen Varcoe
Location of Work Recording
All Saints, Tooting
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Listed on Ciao since
14/10/2005
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