This deluxe, 21st anniversary reissue of Lorraine Hunt Lieberson's legendary recording of the character Irene's arias from George Frideric Handel's Theodora - plus the composer's cantata La Lucrezia and the evergreen aria "Ombra Mai Fu" from Serse - evokes vivid memories of the mezzo-soprano's galvanizing musicianship and opens the ears of a new generation of music lovers to appreciate the timelessness of Lorraine's poignant interpretations. Specially remastered for this CD and newly available digitally in Dolby Atmos, the longevity of these performances is a testament to Lorraine's unique voice and soul. Conductor and leading Baroque specialist Harry Bicket recalls the immediate musical connection he and Lorraine shared from the time they first met in 1996 during rehearsals for Theodora at Glyndebourne. When Peter Seller's staging of the cantata was revived in 2003, it seemed obvious to go into the studio to record Lorraine's Theodora arias. A maverick musician and a riveting performer, Lorraine died in 2006 due to complications from cancer at the far-too-young age of 52. This recording, one of her last, preserves her consummate musical persona for posterity. The New Yorker's classical columnist Alex Ross characterised the album as "pull-down-the-blinds, unplug-the-telephone, can't-talk-right-now beautiful. She's singing it again; I have to go."

Whether or not they actually traveled south of the Alps, as Handel did early in his career, all 18th-century German composers of note were influenced by the Italian style of vocal and instrumental writing at the time. Manuel Tomadin’s latest album for Brilliant Classics explores the connections between these apparently disparate traditions, beginning with the Toccata, Adagio and Fugue BWWV564 which stands among the most striking examples of JS Bach’s work during his years as Capellmeister to the ducal court in Weimar (1710-1717). The Italian qualities of the concerto-like nature of the opening Toccata in BWV564 and then the pathos of the Adagio, with its walking bass and Neapolitan harmonies, are underlined by the following transcription made by Bach of a Vivaldi Concerto, the A minor RV522, and then Walther’s transcription of a concerto by Torelli. Just as Bach was later influenced by the violin playing and writing of the virtuoso Pisendel, German-born but widely traveled in Italy, Johann Gottlieb Graun was a pupil of Pisendel’s who had also studied with the prince of Italian violinist-composers, Giuseppe Tartini, and so Tomadin includes a solo-organ concerto of Graun’s which abounds in violinistic figuration. An arrangement of Handel’s opening Sinfonia to his oratorio Esther, another Vivaldi concerto and Bach’s magnificent A minor Prelude and Fugue BWWV543 complete this stimulating program.

This album is also a valuable record of the historically significant organ in St Peter’s Church in the Dutch town of Leens. Dating from 1733-34, and thus contemporary with the music recorded here, the instrument is the work of the Dutch organ-builder Albertus Anthoni Hinsz. He modelled his designs on the instruments by the Schnitger family who dominated North-German organ-building at the time, and the example in Leens is a superbly preserved and scrupulously restored example of this heritage. The booklet is generously annotated with an essay by Manuel Tomadin exploring the Italian connections between the music on the album, a history of the organ, a full stop-list and a record of the specific registration used for each piece.

Despite the rivalry between the operatic companies leaded by Haendel and Porpora in London (1734-1737), much has to be said about the real nature of the connection between the two composers. Both the musicians were considered outstandingly original for their aesthetic choices. Both admired each other's music. The few whirlwind years of their defiance in Great Britain produced memorable scores: among them, Ariodante by Haendel and Polifemo by Porpora, performed with simultaneous runs in the city theaters. The fight between the two operatic company was an opportunity for the composers to meet and discover each other, to deal with the taste of the audience and to experiment new ideas, getting strength from the incredible skills of the members of the vocal casts (Farinelli, Senesino, Carestini, etc.). This release tries to capture the soul of such a complicated intellectual relationship, presenting significant exemples of the composers' style and outlining the borders of the mutual esteem between two giants in the history of music. On her debut solo album, the young talented mezzosoprano Giuseppina Bridelli performs with effortless bravery the difficult pages written for some of the most famous singers of the 18th century: between them, a version with original variations of Haendel Scherza infida.

The Organ Concertos Op. 4 and Op. 7 by George Frideric Handel (1685–1759) were originally composed as musical interludes to be performed during the intervals of the Oratorios. Handel chose to write for the organ, an instrument hitherto relegated to the liturgical service, to emancipate it and have it take on a new character, more brilliant and appealing to the public. From the scores it is clear that these concertos do not have to be played on a large instrument, as they only sporadically require the use of the pedalboard, which therefore made the concertos also performable on the harpsichord.

Transcription, the art of transcribing repertoire for a different instrument or ensemble combination, is absolutely an integral part of the boundless organ and keyboard literature dating from the distant Renaissance to the present day. One great example from the organ repertory is composer and organist Clément Loret’s (1833–1909) transcription of Handel’s Organ Concertos for solo organ. The two composers complement each other – Handel, a great virtuoso and dazzling composer of the Baroque period capable of gripping the most disparate audiences, and Loret, a late Romantic belonging to the great French school of Jacques-Nicolas Lemmens, where the organ is placed center stage. Loret intervenes in Handel’s work whilst maintaining its spirit. He preserves the dense contrapuntal writing, merging organ and orchestral parts without reserve, and always retaining the brilliance and vivacity that characterise the original in virtuosic projection towards the modern symphonic organ. This all makes for a large sound and an array of significant technical and stylistic difficulties for the performer.

The set of Op. 4 and Op .7 taken together includes 12 concertos in total, each with its own character, shape, style and atmosphere. The tonalities used are those that were the most frequent and most in vogue during the Baroque period, except perhaps for the concerto in A major Op.7, which stands out not only for its tonality, but also for the particular elegance and fluctuation of its fugue theme.