An admirable performance of a rare work.

‘The worst libretto Handel ever set … the construction is clumsy, the characterisation incredible,’ wrote Winton Dean, with his typical panache, in his and Merrill Knapp’s classic book on the earlier Handel operas. Never mind: if one is prepared to accept that Handel’s dramatic muse sometimes nodded, and just enjoy the music for what it is, Silla is amply worth a hearing. It had its first English revival in spring 2000, in the Handel series that Denys Darlow directs at the Royal College of Music, and the present recording is a by-product of those performances.

The opera, probably Handel’s shortest, dates from 1713 and seems, oddly, to have been written for a private performance at the main London opera house in honour of a new French Ambassador – although there is no certainty that the performance actually took place. The plot, an absurd farrago about the Roman dictator Sulla (‘Silla’ is the Italianised form), here a ruthless murderer who makes unsuccessful grabs at two of the three women in the cast (the third is his wife) and then suddenly repents, seems decidedly inappropriate for a festive occasion, or indeed any occasion at all. It’s the kind of libretto that has got baroque opera a bad name. Its sole merit – and this is quite important – is that it does allow opportunities for a considerable range of musical expression.

Curiously, however, Handel doesn’t seem to have been fully alert to those opportunities. Sulla himself, for example, gets music more amiable than so odious a character seems to deserve (including a truly lovely ‘sleep song’, with recorders), and the music for his wife Metella is often absurdly at odds with the text and her situation. But there are many attractive numbers, notably some telling music for the two pairs of lovers who find themselves threatened by Sulla’s importunities – Lepido and Flavia have two duets, the second a miniature but intensely poignant F minor Adagio, while Celia grieves the (supposed) death of her Claudio in a heartfelt G minor sarabande.

The mainly youthful cast here – these performances traditionally give opportunities to promising young singers – are very successful and I am sure we will hear a lot more of some of them. Rachel Nicholls sings Metella’s music in a pleasant, natural and very even voice, strong and resolute in the big aria that ends Act 2. As Celia, Elizabeth Cragg shows a lighter voice with a hint of an attractively grainy quality; Natasha Marsh’s full and rounded voice rings out to excellent effect in Flavia’s arias.

Except for the brief appearance of ‘Il Dio’, an odd kind of god who encourages Sulla’s ferocity in his dream vision (ably taken by Christopher Dixon), there are no true male voices. Lepido is sung by Joanne Lunn in a fresh, bright voice, accurate and rhythmic; Claudio is taken by Simon Brown, a capable and fluent countertenor with a strong and clear top register and much subtlety in handling details of stress and timing. He has a fine aria with trumpet to end Act 1. Sulla himself is sung by a Handelian of considerable and obvious experience – a fine model for the young members of the cast: James Bowman shows his knowledge of how to shape and colour Handel’s lines and (as in the fiery Act 2 aria) to sing forcefully and still musically. The voice rings well even if the lower register now has a little less character.

All the singers add a little, generally discreet ornamentation in the da capo sections. Denys Darlow, as always, conducts in a direct and unaffected fashion, showing consideration for the singers and understanding of Handel, with a good range of tempos and with spruce, lively rhythms. Handelians will not want to miss this chance of hearing a rare work admirably performed.'

-- Stanley Sadie, Gramophone [3/2001]

Lucia Micallef Is One of the Many Maltese Musicians of Enormous Talent Who Are Making the Island a Hotbed of Music New and Old. This Album Features Lucia in Four of Bach's Keyboard Concertos Played on a Modern Piano with a Superb Clarity of Sound and Phrasing Backed By the Excellent Euco.

Somm Recordings and former BBC Young Musician Competition prize- winner Cordelia Williams present two sublime voices together for the first time on album in a poetic and probing coupling of the solo piano music of JS Bach - musical laureate of 17th-century Protestantism - and Arvo Pärt, principal voice of contemporary Holy Minimalism. Although a quarter of a millennia separates their births, both share a conviction that faith in God, as Williams notes in her introductory essay, "is the foundation of the creation of music." This pioneering coupling of the two composers reveals a surprising latticework of connections in their constant, shared striving for economy and essence. Pärt's signature chiming 'tintinnabuli' style is beautifully evoked in three pieces designed to console and comfort their dedicatees: the tolling, melancholic profundity of Für Alina; the quietly majestic and moving Für Anna Maria and the limpid, liquid invention of Variationen zur Gesundung von Arinuschka. Composed for his 10-year-old son, Wilhelm Friedemann (himself later a composer of distinction), Bach's twin sets of 15 Two-part Inventions (BWV 772-86) and 15 Three-part Sinfonias (BWV 787-801) are much more than mere pedagogic primers. Williams finds in them a richness of technical design far beyond their apparent simplicity. Here, Williams reverts to Bach's original ordering of the pieces to chart a subtly revealing way through music as intimate as it is illuminating.

TELEMANN Trio Sonatas: in d, TWV 42:d10; in a, TWV 42:a1; in F, TWV 42:F8; in f, TWV 42:f2; in a, TWV 42:a4; in f. Sonata in f, TWV 41:f1 • Fabio Biondi (vn); Tripla Concordia (period instruments) • DYNAMIC 7667 (52:13)


Fabio Biondi’s program of trio sonatas by Georg Philipp Telemann, apparently mastered in the late 1990s, corresponds to an identical program (same works in the same order) once listed as Stradivarius 33685 and not reviewed, so far as I can tell, in Fanfare . Tripla Concordia consists of Lorenzo Cavasanti (recorder), Caroline Boersma (cello), and Sergio Ciomei (harpsichord), and they lend almost bumptious support to the irrepressible Fabio Biondi, playing, in this case, a violin constructed by Desiderio Quercetani in 1991 after an 18th-century Neapolitan model. Danilo Prefumo’s notes explain that the ensemble has gathered together all of Telemann’s works for the combination of violin, recorder, and continuo, omitting other trio sonatas intended for recorder, treble viola da gamba, and continuo, previously considered to have been intended for violin.


The engineers come very close to the ensemble (and if the flute seems almost shrill on occasion, so does the violin on others); but the random breathing they’ve captured seems benign beside the amount of instrumental noise and multitudinous abrasive attacks they’ve registered, all of which might intimidate a faint-hearted listener (the recorded sound also gives the instrumental timbres a sharp edge that, it seems possible, might be an artifact). Nevertheless, there’s no gainsaying the irresistible élan of the ensemble’s reading of the first Sonata, with its three fast movements surrounding a slower second (all the sonatas comprise four movements, in which two fast movements generally provide a contrast with two slower ones). And the close, vibrant recorded sound, however pleasantly or unpleasantly it may strike the listener’s sensibilities from moment to moment, plays a significant role in creating the overall effect. In fact, the razor sharpness of the instrumental sound seems considerably more distracting in slow movements like the opening Adagio of the Sonata in F Minor (TWV 42:f2), rather than in headlong fast ones like the same Sonata’s Finale. The Sonata in A Minor, TWV 42:a4, seems perhaps the most balanced, with all the movements taking about two and a half minutes and alternating slow and fast in the pattern that had become pretty much standard. Yet, from my experience of the work as a performer, it seems to lack in this reading the exuberant energy that characterized the fast movements and the suavity that characterized the slow ones in their performances of the other sonatas. Recommended to those who may have missed this collection in what seems to have been an earlier incarnation and who take delight in this repertoire.


FANFARE: Robert Maxham

Bach's French Suites are pieces that underwent many revisions. Unlike Bach's Partitas, which were published and therefore frozen in their state at the time of publication, the French Suites were didactic pieces, with many variants. Some early versions appear in the 1722 Notebook for Anna Magdalena Bach, which contains two full suites (BWV 815 and 816) together with parts of the first two suites. Peter Watchorn discusses how Bach used these suites for teaching in his interesting liner-notes. These take the form of an imaginary interview with Johann Sebastian Bach.

The first thing that strikes the listener is the clear, rich sound of the harpsichord, a Zuckerman copy of a Christian Vater instrument from 1738. Not only does this harpsichord offer an extremely balanced sound from the low end to the treble, but the recording itself enhances the musicality of the instrument. It sounds warm and full, without the sometimes harsh high end that can be tiring to listen to. Also, it is worth noting that Watchorn uses Bradley Lehman's tuning scheme, described here.

Watchorn's performances here are delightful. His playing ranges from dainty to powerful according to the needs of each specific movement. He takes full advantage of the wide spectrum of sounds his harpsichord can voice, offering tasteful ornamentation and subtle accents when desirable.

One thing that Watchorn does here that sets this recording apart from others involves interpolating preludes into those suites that lack a prelude. He has restored the prelude to the 4th suite, and plays other preludes before the suites that do not contain any. His reasoning, laid out in the liner-notes, is in part due to the fact that Bach and his sons would "improvise" preludes when playing these suites. To this end, he uses preludes from a variety of sources: The Well-Tempered Clavier, other uncollected preludes, and even BWV 999, a prelude that Bach wrote for the lute, and which is well-known.

I am very familiar with the French Suites, having long appreciated these beautiful works. Adding preludes to them is interesting, but when one has listened to them without these preludes for so long, it can be jarring to hear them with what seem like "intruders", especially those preludes that are familiar from The Well-Tempered Clavier, or the prelude for lute. I admire the research that has gone into this choice, but I will choose to listen to the French Suites without these additional movements. It is like Bach's Art of Fugue. For a long time, it was thought that the unfinished fugue was the final part of the work; it certainly sounds like a summation of the rest of the fugues, and its ending in suspension is a fitting ending for the entire work. But musicologists have shown us that its position in the work was much earlier. Nevertheless, I simply cannot listen to it in its proper position.

This set also contains the twenty "Little Preludes", other didactic works from the Clavierbüchlein for Wilhelm Friedemann Bach. Among these works, Watchorn "completed" the prelude BWV 932, which existed as a fragment. I find the Little Preludes interesting, but they certainly don't stand up to the French Suites. These are not works I return to often, though Watchorn's recordings are up to the same standards as the French Suites.

To sum up, this is a fine recording of the French Suites, with the odd aspect of the additional preludes. It is up to the listener to decide whether or not he or she wishes to hear the suites in this manner. Given the quality of the performances and especially the excellent recording, this set is among the best harpsichord recordings of these works.

-- Kirk McElhearn, MusicWeb International

This recording realizes Barthold Kuijken’s long-held desire to restore to Jean-Baptiste Lully, and to French Baroque orchestral works in general, the power and intensity that once held the musical world in thrall. To the grandeur, finesse and diversity of the genre he has brought original source material to inform specific bowing techniques and the use of ornamentation. The result, as with Telemann’s Suite in E minor, which stands firmly in the Lully tradition, and Rameau’s magnificent Suite from Dardanus, evokes the spectacle and splendor of Versailles. Barthold Kuijken is an eminent leader in the field of early music. A virtuoso traverse soloist, teacher and conductor, he has shaped the fields of historical flutes and historically informed performance over the last forty years. Kuijken has widely performed and recorded the repertoire for the Baroque flute and has collaborated with other early music specialists including his brothers Sigiswald and Wieland Kuijken, Frans Bruggen, Gustav Leonhardt, and Paul Dombrecht.

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REVIEW:

This album of Lully-inspired music is worth the full price of admission. The performances deliver both grandeur and finesse, and the recording does them full justice. Two fine sets of notes, from harpsichordist Thomas Gerber and Barthold Kuijken, crown the achievement.

– MusicWeb International

George Frideric Handel
TAMERLANO

Bajazet – Plácido Domingo
Tamerlano – Monica Bacelli
Asteria – Ingela Bohlin
Andronico – Sara Mingardo
Irene – Jennifer Holloway

Teatro Real Chorus and Orchestra, Madrid
Paul McCreesh, conductor

Graham Vick, stage director

Recorded live at Teatro Real, Madrid on 29 March, 1 and 4 April 2008.

Bonus:
- Illustrated synopsis and cast gallery
- Interview with Paul McCreesh

Picture format: NTSC 16:9 anamorphic
Sound format: PCM Stereo / DTS 5.0
Region code: 0 (all regions)
Menu Language: English
Subtitles: English, French, German, Spanish, Italian
Running time: 241 mins
No. of DVDs: 3

Teatro Real's majestic production of Handel's vivid tragedy, Tamerlano, stars a Lear-like Plácido Domingo as the Turkish Sultan Bajazet, caught between pride, love and loyalty. Displaying the uniquely heroic quality of his voice, Domingo heads a superb cast, including Sara Mingardo, Monica Bacelli and Ingela Bohlin, all magnificently responsive to Paul McCreesh's authentic and luminous interpretation of the score. The stunning theatrical staging by Graham Vick provides a splendid setting for the characters and for designer Richard Hudson's extravagant Baroque-Islamic costumes, emphasising the brilliance of one of Handel's finest dramatic achievements.

FULL REVIEW

Probably one of the best Handel operatic productions presently available...

If Handel’s two other great operas, Giulio Cesare and Rodelinda, are well known then this third of the trio of ‘greats’ should certainly join them. This production will do much to underline that.

For some years now the phrase ‘director’s opera’ has had a pejorative ring – sometimes with justification. This production has Graham Vick written all over it. Further, the music director James McCreesh concedes that that extends to choice of versions of scenes. “What do you mean, ‘choice of versions of scenes’? An opera is an opera is an opera.” Sorry but it is not: that is what we have come to expect today but Handel and very many composers re-wrote scenes or omitted, added or replaced arias according to the ability of the available singers. And Tamerlano is no exception. No, I do not intend to bore you with a detailed analysis. One example will suffice: death or coronation in the last scene? Well, here you get both.

What of the plot? The psychopathic Tamerlano has captured Ottoman leader Badajet and daughter Asteria. Tamerlano’s Greek buddy Andronico falls for Asteria. Meanwhile, Irene, princess of Trebizond, is on her way for her nuptials with Tamerlano. Tamerlano then decides that he will marry Asteria and palms Irene off on Andronico. Asteria’s two failed attempts on Tamerlano’s life and then Bajazet’s suicide persuade Tamerlano to revert to the original marital arrangement. Thus, theoretically, all ends happily but the music suggests otherwise, as it has throughout. This is ‘dark’ opera: Handel at his compelling best with some remarkable conventional da capo arias. There are three sections ABA where the singer is allowed free rein in the third which was much to the point of Handel’s operas when first produced: an opportunity for florid vocal display. And if you ever thought that da capo arias are repetitiously dull and boring then watch and listen. Further watch and listen carefully to the last scene where Handel almost ignored the musical conventions.

In Handel’s day productions were virtually static: singers stood and delivered and then frequently left the stage to applause hence, called, the exit aria. Curiously McCreesh describes this production as “quite still”. Maybe: in comparison with other operatic productions. However, for me, Vick instils this one with wholly appropriate body and facial movement. I cannot pretend that I understand all of the symbolism, particularly of the silent ‘groupies’ who accompany some of the singing: and just occasionally distract attention from it – an example is during the only aria given to Leone - Tamerlano’s henchman. That aside, the acting here is first class, capturing Tamerlano’s almost demonic personality, Badajet’s decline and his reciprocated love for Asteria and also Andronico’s constancy.

We expect no less. This is Monica Bacelli, the proven exciting Handelian in the title trouser role and the ‘imported’ Plácido Domingo as Badajet; ‘imported’ because this is his first Handel part in over a hundred roles and it is perfectly suited for him: a truly dramatic tenor.

Bacelli is in excellent form displaying a neurotic vibrancy through very expressive movements. This is not ‘stand and deliver’ and nor is it a general-distraction cavort about the stage: but it is movement to encompass the stage and engage the audience in her characterful playing. Yes, and she sings too. Whilst her smaller voice contrasts with Domingo’s power she never loses her strong focus or line and elegant phrasing. Not a pitch out of place, not a run slurred; most arias at a faster pace with opportunity for colouring and strong tones that she never misses.

Domingo is equally splendid portraying the beaten leader. Dramatic singing throughout. If I have a slight hesitation it would be about vocal flexibility in the quicker aria Ciel e terra (disc 1 track 15) – hardly surprising in a singer of his years which generally show no sign of catching up with him. But here I am being ‘nit-picky’. His is vocal drama which makes us empathize with a fallen leader of the Ottoman Empire and renders understandable the taking of his own life. That is no mean feat when his beloved daughter Asteria still lives. Domingo gives a master class in diction, dynamics and phrasing. His final aria is magnificently delivered as he leaves the stage backwards into the darkness.

The Swedish soprano Ingela Bohlin effortlessly despatches the role of Asteria, or so she makes it appear. This high-lying soprano role does not trouble her. In her splendid aria Cor di padre (disc 2 track 24) at the end of Act 2 she vocally wanders about at the top of and above the stave, occasionally leaping there with total accuracy. In her aria Se non mi vuol amor (disc 1 track 13) she leaves high notes just hanging exquisitely in the air. She has a very secure vibrato - and that is not an oxymoron - and a gentle trill which adds much to aria meaning and audience enjoyment.

Sara Mingardo is a true contralto but noticeably of smaller voice. Bearing in mind how responsive McCreesh is with the orchestra for the forte and piano of the roles for Bacelli and Domingo, it is disappointing that he does not at all times afford Mingardo that same facility/kindness/support. Mingardo has wonderful vocal flexibility with quite remarkable beauty of tone. No applause for her act 1 aria Bella Asteria (disc 1 track9) which I would have expected to lead to sustained applause. Her timbre balances extremely well with both Bacelli and Bohlin to produce some delightful sounds.

Jennifer Holloway, as Irene arrives on stage aloft by some three metres on a gorgeous blue elephant on wheels. Could it be that the slightly irregular jumbo traverse of the stage contributes to her occasional lack of smoothness and steadiness of note in her opening aria? Certainly when back on stage terra firma her smooth clarity of note returns and when singing piano there is great beauty of tone.

De Donato, as Leone, is afforded one aria. Here it is the act 2 Amor dà guerra (disc 2 track 10) as opposed to the act 3 option of Nel mondo e nell’ abisso. Apart from a slight hint of effort when on serious high he sings clearly with a firm line. His problem, or rather our problem, is to concentrate on him while three pairs of ‘supporters’ perform a variety of symbolic mimes. Despite watching it several times I remain convinced that I do not fully understand all the symbolism.

That applies also to movements that take place on the balcony which goes around the semi-circular stage where the ‘groupies’ perform various mimes in slow motion around it or small blue elephants move equally slowly. That leaves a bare stage over which hangs the celebrated foot on the globe (no prizes for guessing that piece of symbolism) variously pushed up by Badajet or crushing him or Asteria. It also ascends and descends almost imperceptibly as appropriate to the stage action. In act 2 in what is almost a coup de théâtre it revolves through 180° to reveal its hollow back with gold lining and a seat that becomes Tamerlano’s throne.

The only stage prop which doesn’t seem to me to be particularly effective is the long bench protruding from the back stage in the first part of act 3 which serves at Tamerlano’s throne. Otherwise, the stage effects together with the matching half moons near stage front that move together to form another circle and become a prop in their own right, are spectacularly effective.

Colours are also fundamental. The stage is white, the costumes black and/or white except for the splendid Act 2 vivid lime green for Tamerlano and later a brilliant cerise. Irene has similarly strongly coloured costume when on her elephant. As you can see above Badajet and daughter are in white and remain so throughout. Symbolism in colours? I think so.

All that said there is a fault: but not with the production. It is the subtitles: too frequently the translation leaves a great deal to be desired. It is not idiomatic; indeed occasionally it is archaic if not arcane. Rely on them and from time to time you might struggle to follow the plot. Any such problem is overcome by the synopsis - one of the extra features. There is also a helpful commentary in the accompanying booklet.

-- Robert McKechnie, MusicWeb International

Unlike the only published piano duet arrangement by Max Reger, which has serious performance limitations, Eleonor Bindman’s new transcription of the Brandenburg Concertos highlights their polyphony, imagining how Bach might have distributed the score if he had created four-part inventions for piano duet. With an equal partnership between the two instrumentalists, using the modern piano’s full potential to convey the unique scoring and character of each work, the concertos are ordered to create an engaging listening sequence. Both Eleonor Bindman and Jenny Lin receive critical accolades wherever they perform. The Poughkeepsie Journal write of Bindman: “…a strong pianist who attacks her work with great vitality and emotion. She is extremely expressive and mesmerizes her audience with her flair and technique.” Gramophone magazine hailed Lin as “an exceptionally sensitive pianist,” while The Washington Post labeled her as “…surely one of the most interesting pianists in America right now…”

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REVIEWS:

Beyond mere curiosities, these transcriptions allow for familiar works to be experienced in new and valid ways. Pianists Bindman and Lin make a great case for them.

– Fanfare

Only pianists of the highest caliber could deliver these performances. Nothing seemed out of place, and the phrasing and dynamic shaping of the lines were exceptional. This is a fresh look at some of Bach’s greatest works in piano arrangements that work quite well.

– American Record Guide