Handel' oratorio Israel in Egypt was written three years before the Messiah and, like the Messiah, is somewhat atypical of the composer' oratorios. Scored for double chorus and an orchestra using trombones, trumpets, timpani, woodwinds and strings.

Georg Friedrich H�ndel's work, Messiah Famous Choures are performed by the Scholars Baroque Ensemble.

Prague Chamber Soloists perform Handel's Water music/ Music for the Royal Fireworks under conductor, Andrew Mogrelia.

This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.

One’s first impression of this CD, in an aria from Orlando comparing Love to the Wind, with its bouncy coloratura and light attitude, might mistakenly be that soprano Amanda Forsythe is “one of those coloratura songbirds,” albeit a very good one. This would be selling her short: yes, she’s most certainly a superb singer, with staggering agility and high notes perfect and free, but she uses every note in her well placed, many-hued voice. Sudden plunges into a not-quite chest voice on words like “dolor” (sadness) color and vary the experience of the aria.

And the next aria, “Geloso tormento” from Almira, with its obbligato oboe and aggressively unhappy strings, gives Forsythe even more emotional room: like any good “early music” soprano, she can sing without vibrato, but what she does with the first two words of the aria are special. The second syllable of “geloso” is attacked white and she sings a crescendo on it, adding vibrato; “tormento” finds a rolled “r” and a shudder on “men”. She embellishes freely and dramatically in the da capo section (here and in each other such aria).

It is a joy to hear a singer rethinking much of this familiar music without ever distorting it, such that the CD’s 55 minutes of singing (broken up with four expertly played orchestral excerpts from Terpsichore) truly impresses like a first hearing. And you never tire of Forsythe, as you might with other light-and-high-voiced singers. A bauble such as Atalanta’s flirtatious “Un cenno leggiadretto” from Serse has such character that it enchants anew. She has no fear of leaning on her voice but she never forces or makes an ugly sound; drama comes from inflection and diction.

Armida’s enraged recit “Dunque I lacci” and the anguished “Ah! crudel” that follows from Rinaldo are tragic in scope and sound, heavy with rage and sadness. The brief, insane B section that pops out of Armida’s deranged mind, “O infidel”, filled with tommy-gun coloratura, is a spectacular display, and Forsythe sadly lopes into the da capo with a voice filled with desolation. Morgana’s “Tornami a vagheggiar” from Alcina is sung for fireworks, and they light up the sky.

Jeanette Sorrell leads the period instruments of Apollo’s Fire devoid of any affectations, and the band plays smoothly and expertly. This is clearly Forsythe’s show and the orchestra and conductor offer great support. I could go on but find no need to; I hope you get my point. This is a knockout recital by a major American soprano.

-- Robert Levine, ClassicsToday.com

Composed in 1740, L'Allegro, il Penseroso, ed il Moderato is Handel's setting of poetry by John Milton, with additional verses (in the third part of three) by Charles Jennens. This oratorio is a kind of moderated dialogue between two personalities - the merry and carefree, and the thoughtful and ruminative. Jennens added "il Moderato" - the moderate man who balances the other two types. It seems not to have been Handel's intention to instruct listeners as to the most favorable type. Instead, he must have been most attracted by Milton's poetry, and by the opportunity to compose the sort of pastoral entertainment which he had found so congenial in earlier compositions. Sometimes the third part, entirely set to verses by Jennens, is dropped. This was the case even in Handel's time; it was felt that Jennens could not hold a candle to Milton. Some of the work's first recordings (for example, a 1960 version conducted by Sir David Willcocks) do the same, and also rearrange the remaining movements. This new version is given complete, however.

Handel: Gideon (Compiled and Arr. by J. C. Smith)

This recording restores some of Handel' finest but least-known music to the choir for which he wrote it and to the building where he performed it, probably for the first time since his own performances there.

Set in a time of ancient Rome' persecution of the Christians, Handel' late masterpiece Theodora tells of the tragic martyrdom of the heroine and her lover Didymus.

HANDEL: Solomon, HWV 67

Stokowski's Bach transcriptions have received a great deal of attention on disc lately, but this is one of the very few recordings that has the genuine flavor that Stoki himself brought to them. The obvious first question is: How do these versions compare to the "originals"? Can they be as good? The answer, quite simply, is "Yes, they can." Serebrier doesn't try to duplicate every gesture that Stokowski made. That would be impossible in any case, given the wide range of tempos and other variations among his own numerous recordings of these pieces. Take the Passacaglia and Fugue in C minor: Stoki's own timings varied between about 12 minutes (in Philadelphia) to more than 14 in a later rendition. Serebrier takes about 13, which is similar to the tempo Stokowski adopted in his 1940s All-American Youth Orchestra reading (on Cala).


In general Serebrier is a bit swifter than his late mentor, particularly in such numbers as Komm süsser Tod and Nun komm' der Heiden Heiland, but speed isn't really the issue with Stokowski. What matters more is sonority, that special "Stokowski sound". The fact is, these orchestrations are not particularly original or imaginative. They are almost uniformly (indeed formulaically) based on strings as the principal voices, with woodwind and brass reinforcement as necessary. Heard in quantity, they risk sounding quite monochrome. Some, like the "Little" Fugue in G minor, use the winds in imitation of the organ, but there's nothing special in that. What makes them work is not how they are written, but rather how they are played. Take the famous Air from the Orchestral Suite No. 3. Listen to Serebrier summon that rich vibrato from the cellos, the shimmering texture of the seraphic violins, and the discreet touches of portamento: this is the true "Stokowski sound"--sensual, luminous, and warm.


Or take the almost apocalyptic entry of the full orchestra toward the end of the "Little" Fugue: Serebrier understands that theatrical flair, even bordering on vulgarity, makes these arrangements come to life. There's a sense of danger here--of almost, but never quite, crossing over the "bad taste" line--that makes listening so much more fun. The same sense of nearly garish drama characterizes this powerful performance of the Passacaglia and Fugue. It's worth pointing out, by the way, that it probably was a smart move to omit the Toccata and Fugue in D minor, for two reasons. First, it eliminates the temptation to make obvious and facile comparisons to Stokowski's half-dozen recordings of the most famous of all his Bach transcriptions; and second, it leaves hope that another disc may be forthcoming containing an equally rewarding mixture of the familiar and unfamiliar.


Aside from Bach, Serebrier includes Stokowski's own Two Ancient Liturgical Melodies, a sexy conflation of Veni Creator Spiritus and Veni Emmanuel, as well as the Handel and Purcell items. Dido's Lament sounds particularly dark and tragic in this performance. It's clear that the Bournemouth Symphony is having a great time reproducing these ultra-rich, Golden Age sonorities, and my only quibble concerns the principal oboe, whose clicking valves decorate his solos with excessive prominence. But then Stokowski himself made magic with every kind of orchestra and caliber of player, so this isn't a big issue. The engineering supports the interpretations particularly well, giving the strings the necessary sheen and allowing the climaxes to expand hugely. Like Serebrier's and Bournemouth's previous Stokowski project, dedicated to Mussorgsky, this new release is an unqualified triumph. [6/5/2006]
--David Hurwitz, ClassicsToday.com

Handel composed Hercules for his 1744-45 oratorio season as the secular foil to one of his most ambitious sacred dramas, Belshazzar, hoping to repeat the success of the previous season' Samson/Semele pairing.

HANDEL: Nabal

HANDEL: Italian Cantatas / Harpsichord Suite No. 5, HWV 430

HANDEL: Alcina / Agrippina (Excerpts)