Handel's cantatas represent an important musical repertoire that until recently has been little known. Consisting of about 100 separate works, most were written over a period of a few years for private performance in Italy. They range from musical miniatures containing only two arias connected by recitative and accompanied by continuo (a bass line typically realized by cello and harpsichord) to larger works with named characters, a dramatic story, and rich instrumental forces. Telling more often than not about the pangs of love, these are intimate works, with texts frequently written by (and sometimes about) members of the privileged audience for which they were composed. A number of Handel's cantatas have texts by one of his important Italian patrons, Cardinal Benedetto Pamphilj. The project of Marco Vitale to record all of Handel's cantatas is thrilling. The continuo cantatas have never been recorded in full and many have never been recorded at all. Thus, this project will bring to life largely unknown music by one of the world's greatest composers.

For his ''Occasional Oratorio'', composed in 1746 in an age of personal and political upheaval, Handel made generous use of much of his own earlier material, and this resulted in something quite close to an anthology: a choice collection of his most beautiful and most famous pieces - as it were, a ''Best Of''. The ''Messiah'' librettist Charles Jennens complained loudly that the oratorio was ''a triumph for a victory not yet gain'd'', and that its libretto, by a certain Newburgh Hamilton, was an ''inconcevable jumble of John Milton and Edmund Spenser''. Nevertheless, the ''Occasional Oratorio'' offers the modern listener magnificent and largely familiar melodies, highly virtuosic Baroque arias, moving choruses and, above all, a magnificent Late Baroque sound that, in this extremely compact score, is quite unique. Audiences at the time probably considered this to be ''Handel at his best'', and today's public doubtlessly shares that opinion. This virtuoso and colorful interpretation, recorded recently on February 11, 2017 in the Herkulessaal of the Munich Residenz, was an exemplary success, delighting the audience and the trade press alike. Howard Arman conducted the Chor des Bayerischen Rundfunks, teh Akademie fur Alte Music Berlin with its historically informed performance practice, and a line-up of highly talented English soloists.

Classical Music

Classical Music

An excellent performance.

George Frideric Handel left a large oeuvre, most of it written after he had left Germany. As a result very few compositions on a German text are known. For some time a St John Passion was attributed to Handel, but there now seems general agreement that it was written by someone else. That leaves the nine German arias and the Brockes Passion. Although they are on German texts Handel wrote them while he was living in England.
 
Handel used the well-known libretto 'Der für die Sünden der Welt gemarterte und sterbende Jesus' (Jesus who suffered and died for the sins of the world) written by Barthold Heinrich Brockes. It was also set by other composers: Reinhard Keiser (1712, the same year the libretto was published), Georg Philipp Telemann in 1716 (the same year as Handel) and Johann Mattheson in 1718. The latter performed all four in Holy Week of 1719 in the refectory of Hamburg Cathedral. This church was a kind of sanctuary in Hamburg because it was not under the supervision of the city council. Brockes' text was of a dramatic nature and offered a composer much opportunity to write in an operatic style. That kind of Passion music was certainly not approved of by the ecclesiastical authorities.
 
The Brockes Passion was one of the first in the new genre of the Passion oratorio in which the text of the Gospels was paraphrased. The report of the events is delivered by the Evangelist, the other characters in the Gospels are also represented - Judas, Peter, Pilate, - but there are also two symbolic characters: Tochter Zion (Daughter of Sion) and Gläubige Seele (the Believer) who reflect and comment on the events. They take most of the arias, and are mostly scored for soprano. Because of the number of arias some are performed by Johanna Winkel, who also takes the role of the Believer. Two arias of the Believer and one of Daughter of Sion are given to a tenor, and are sung here by Markus Brutscher. And another aria of the Believer is scored for bass: 'Wie kommt's, dass da der Himmel weint', sung by Michael Dahmen.
 
Handel explored the operatic character of the libretto to the full. It is hardly surprising that he used material from this Passion in later years for some of his English oratorios. The text is set in a very expressive way, not only for the voice but also for the instruments. Two arias are given to Jesus, another feature of the Passion oratorio. These two - 'Mein Vater, schau wie ich' and 'Ist's möglich, dass dein Zorn', which have the same musical material and are divided by a recitative - are introduced by dramatic chords from the strings. Descending chords lead to Peter's aria 'Schau, ich fall' in strenger Busse': "See, I fall on my knees at your feet as a penance". A kind of operatic dialogue is the scene in Gethsemane, when Jesus urges his disciples to stay awake. Also reminiscent of opera are the rage arias; there are no less than four in this oratorio.
 
In some arias instruments play a prominent role. The aria 'Dem Himmel gleicht sein buntgefärbter Rücken' - which with some textual differences also appears in Bach's St John Passion - contains an extended solo for the violin. The highly expressive aria 'Die ihr Gottes Gnad' versäumet' has a beautiful obbligato part for the oboe. And the last aria of this oratorio, 'Wisch ab der Tränen scharfe Lauge', begins with an introduction by the strings, after which soprano and oboe proceed alone in unisono. These are just some examples of the many splendid arias this oratorio contains. In addition there are two duets, between Daughter of Sion and Jesus, and between Mary and Jesus respectively. The latter and the preceding recitative are the only passages which are given to Mary.
 
Handel's manuscript has not been preserved. For this recording a copy was used – one made by Johann Sebastian Bach. It is not known whether he copied it to perform in Leipzig or just out of interest. In this copy the text of the first chorus has been changed. Brockes' text begins with the words: "Mich vom Stricke meiner Sünden zu entbinden". Here we get: "Kommet, ihr verworfnen Sünder".
 
Considering that Handel's Brockes Passion was first performed in the refectory of Hamburg Cathedral one wonders how large the ensemble would have been. A choir of 27 singers is probably a bit on the large side. On the other hand, the oratorio has been performed again in later years, probably also in larger venues, and that could well be an argument in favour of a larger ensemble. I have nothing but praise for the choir, though. It produces a powerful sound where it is due, in particular in the 'turbae'. But the chorales are also beautifully sung.
 
What is so admirable about this performance is that it has absolutely no weak link. Peter Neumann has brought together a really excellent cast, which is stylistically on the same wavelength. The two sopranos have gorgeous voices; they are not that different, but here that is not really necessary. They sing the more dramatic recitatives and arias just as brilliantly as the more reflective parts. Markus Brutscher gives a splendid account of the part of the Evangelist. His articulation and diction are exemplary. If there is one thing to criticise it is that the recitatives are sometimes too strict in time, with too little rhythmic freedom. This is a problem with recordings of baroque vocal music which I have noticed quite often.
 
Markus Flaig performs the role of Jesus just as well, both in the recitatives and in the arias. Elvira Bill's performance of the small role of Maria is very moving, and her duet with Markus Flaig is one of the highlights of this recording. Apparently Michael Damen sings all the smaller bass roles - although the booklet omits to tell us - and he does so convincingly. Jan Thomer sings the role of Judas, including another operatic aria (Lasst diese Tat nicht ungerochen), and James Oxley the role of Peter, and both do so beautifully. Lastly the orchestra gives excellent support to the singers and greatly contributes to the drama which unfolds.
 
There are not that many recordings of Handel's Brockes Passion. The only one I have is directed by Nicholas McGegan (originally released on Hungaroton, later reissued on Brilliant Classics). That is a quite good performance, but this new recording surpasses it. In my view it sets a new standard for every future recording of this work.
 
-- Johan van Veen, MusicWeb International

From its 1742 premiere, Handel's oratorio "Messiah" has continued to be an audience favorite and for many, the initial portal into the world of Classical choral music. Portraying the life of the "anointed one" (the literal meaning of the Hebrew word 'Messiah'), from the Annunciation and his birth to his death on the cross and revelation, and including the famous 'Hallelujah Chorus.' , “Messiah” continues to draw rapturous reception when performed live. Featuring vocalists Julia Doyle, Lawrence Zazzo, Steve Davislim and Neal Davies performing in the original English-language version, along with the Chor des Bayerischen Rundfunks under the direction of Peter Dijkstra, and accompanied by the whimsically named B'Rock, the Belgian Baroque Orchestra Ghent, working from the original and historically informed scoring, this live recording manages to add to the canon of the “Messiah”.

Triple Feature.

The work was never performed; its main characters have no singing parts; the music written for the original project was later reworked and reused in several other stage productions. So what exactly is the attraction of Handel’s incidental music for Alceste, a play by Tobias Smollett based on the tragedy by Euripides? First, we should know that the original production—what would have been an elaborate and costly affair, involving a host of performers, supported by a large orchestra and showy scenery—was abruptly cancelled before the opening. Various theories exist as to the reason, but suffice it to say, after the event Handel happily carved up his score to satisfy the needs of other productions, and Smollett’s play ultimately was lost. Which brings us back to the question: What’s the attraction here, with this reassembled program of (much of) Handel’s music for Alceste? For me, the answer is, the two gorgeous soprano arias sung by the Muse Calliope, “Gentle Morpheus, son of night; That when bright Aurora’s beams” and “Come, Fancy, empress of the brain”. But I have to add that although Handel graced these arias with some of his loveliest tunes, they are made extraordinary here by the singing of Lucy Crowe. And this is the true attraction of this program and this disc, which is not to discount the fine contributions of the rest of the cast and players.

It’s just that Crowe so completely embraces, embodies, and possesses her music, her voice so captivating, every phrase delivered with the natural, unmannered purity that comes with consummate technique and comprehensive textual understanding. For her, a climactic high note (as at the close of “Come fancy empress…”) is not an objective but a thing to savor in the context of the whole line, indeed of the whole song; and the reams of twirling runs are a means, albeit a free-spirited and fancy means, through the vibrant, verdant harmonic texture. Ah, but that high note—and also those many earlier passages of leaping intervals—are so perfectly sung, all the more affecting because they are so fleeting, uncatchable, and as a consequence, inevitably repeatable. And those signature Handelian runs—no one sings these with such ease, unencumbered as a bird in flight.

To be sure, there’s lots more to savor on this disc, including Christian Curnyn’s absolutely spot-on direction, keeping things moving with his superb orchestra at a theatrically cheerable pace, even without the actual “theatrical” bits of the original play to define the action (whatever it was). Who cares, when the music is this typically, engagingly Handelian? My only reservations are the usual ones in Handel’s vocal music: the tenor and bass, who both have very fine voices and an excellent sense of style, manage their melismatic passages via the “ha-ha-ha” school of vocalism—which is not only distracting (I would even say irritating), but technically faulty and musically unjustifiable. They are by no means serious offenders—but the mannerism is noticeable; however, for the pure pleasure of Crowe’s singing, these are distractions that you can easily overlook, or skip over. This is one not to miss.

-- David Vernier, ClassicsToday.com

Alceste was planned as a lavish collaboration between the impresario John Rich, the celebrated set-designer Servandoni and the rambunctious author of Roderick Random, Tobias Smollett, but it never made it to the stage. Notes by the librettist Thomas Morell hint that the play may have been cancelled owing to Handel’s incidental music being too difficult for the cast. However, it seems that Rich may simply have decided that an adaptation of a drama by Euripides was too risky a venture. This was, after all, a period in which the tastes of the London audience were as volatile as the explosives that had destroyed Servandoni’s Temple of Peace during the Green Park performance of Handel’s Music for the Royal Fireworks.

Christian Curnyn’s delicious recording of the surviving score is amplified with a sinfonia from Admeto and a passacaglia from Radamisto. These fizzy, sexily swung orchestral additions emphasise the parallels between Handel’s incidental music and Purcell’s music for King Arthur, The Fairy Queen and The Tempest.

Though Alceste was written in 1749-50 and features one aria that could only date from that time (the exquisite lullaby ‘Gentle Morpheus, son of night’), it observes the contours of a Restoration masque. Alcestis’s journey to the Underworld is enchanting, with Curnyn’s fleet strings, intimately proportioned chorus, and polished soloists, soprano Lucy Crowe, tenor Benjamin Hulett and bass-baritone Andrew Foster-Williams. The choral writing marries the pastoral delicacy of Handel’s Acis and Galatea with stylings from Purcell’s Odes to St Cecilia, showing Handel’s feel for local tastes, and Curnyn’s perceptive approach to Handel.
Performance: 5 (out of 5); Sound: 5 (out of 5)

-- Anna Picard, BBC Music Magazine

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

Carus is building a valuable stable of recordings, many taped in the Frauenkirche in Dresden. For this three CD set the NDR Choir, Festspiel Orchester Göttingen, a sextet of solo singers and Nicholas McGegan have been enlisted to render Samson to the disc-buying public. The result, if I can anticipate my own critical comments, is an equable and well, but small scaled, performance. There are no outstanding singers as such; instead ensemble virtues are promoted in pursuance of a harmonious and expressively equable reading of the score.

One of the most striking things about the set is the excellent diction and spirited incision of the NDR Chorus. The relatively new Festspiel Orchester Göttingen employs period instruments and, as with almost all bands promoted by Carus that I have encountered, are a most adept, rhythmically buoyant and sympathetic one. McGegan directs with style and if one sometimes feels him a little lacking in brio - I tend to feel the same way about his compatriot Robert King in this sort of repertoire - then compensation comes in the shape of his long-term control and of the rise and fall of the work's emotive high ground. Recitative is notably well judged, accompanied recitative especially, where the band points finely, and these are the result of McGegan's acumen.

But Samson is about the voice and here we have some matters to ponder. The singers have been well selected to ensure that warmth and a certain limited expressive range is harmoniously maintained - which is not to say there aren't some outbursts, of which more in a moment. It is all too easy, when this work is staged or semi-staged, as it has been, to allow Samson's gravitational pull to splinter ensemble focus. I saw John Vickers's last performances on a London stage, when he sang Samson, and though this wasn't quite the case here, it was obvious where all eyes and ears were directed. In this Carus things are, for want of a better phrase, democratically apportioned.

Franziska Gottwald is a sonorous but not over inflated Micah - she sings with equalized tone and requisite plangency, as well as fine English diction. It's a voice that can take on a pleasing keen, as in her Act II aria with chorus Return Oh God of Hosts. Thomas Cooley is Samson; he sings with pleasing, neatly controlled eloquence but it's rather small-scaled and arguably a bit neutral, something I felt about his Total Eclipse! which should be more starkly and incontrovertibly conveyed. William Berger has a warm, rounded bass and does well throughout; his recitative control is evident as early as Act I's Oh miserable change! where the band accompanies with spirited interjectory drama. His How willing my paternal love is sensitively graded, modest but not especially expressive. Sophie Daneman sings a pretty but perhaps subdued Let the Bright Seraphim but otherwise gives a controlled, pleasing account. Bass Wolf Matthias Friedrich sports some well nourished but incongruously employed open American vowels, not least in Honour and Arms which gets rather a 'windy' reading.

Who sings the Virgin in Act II, to shadow Daneman? I assume it's a member of the choir but she should be credited, especially as she's good.

The Raymond Leppard directed modern instrument performance is still going strong, and with Janet Baker, Helen Watts, Robert Tear, John Shirley-Quirk and Benjamin Luxon you're assured of first class singing of a certain stamp [Warner Classics 6 CDs 2564695686 - a box set with Messiah and assorted arias]. Harnoncourt [Teldec 2564692602] has pressing claims as does the old Richter with Alexander Young et al [Archiv 453 245 2]. Harry Christophers' 1996 recording with Lynne Dawson, Lynda Russell, Catherine Wyn-Rogers, Mark Padmore, Matthew Vine, Thomas Randle, Jonathan Best and Michael George is ex-Collins and now on Coro 16008 and is the major opposition. I prefer the Christophers. 

Recorded over two days this is an SACD and sounds a touch reverberant in the tricky acoustic of the Frauenkirche. There are some small cuts, for example To Song and Dance. Whilst admiring the overall, equable nature of the performance, the Christophers gets a more urgent recommendation.

-- Jonathan Woolf, MusicWeb International

DOMESTIC OPERA

Handel’’s one act opera-ballet Terpsichore (1734) is followed by the ballets sequences from his 1735 opera seria, Ariodante. Leading baroque conductor James Richman founded the NYC-based Concert Royal in 1974 and remains its Artistic Director. About soprano Ava Pine: “…perfect balance of passion and intellect…a voice of natural beauty and flexibility” – D Magazine (Dallas, TX) About mezzo Kirsten Sollek: …an appealingly rich alto” – NYTimes; “…elemental tone quality.” - The Philadelphia Inquirer

Classical Music

Handel: Dettingen Te Deum & Te Deum in A Major

HANDEL: Ode for St. Cecilia's Day

Following in their series of Gramophone Award and BBC Music Magazine Award winning recordings, Gabrieli's first Handel recording in over a decade is particularly special - recreating in painstaking detail the very first performance of L'Allegro, il Penseroso ed il Moderato, given in 1740, with additional instrumental repertoire including a Handel organ concerto and two concerti grossi. With a reputation as peerless Handelians, Paul McCreesh and the Gabrieli Consort & players bring meticulous research to every performance and recording project, and are joined on this disc by a stunning selection of soloists.

Recorded live at The Sixteen's Handel in Oxford Festival, 2006, Elin Manahan Thomas gives a performance of captivating communication and sparkling intelligence in these stunning and contrasting Handel Cantatas, bringing to life the world of four women, all of whom have been betrayed by love and its deceitful charms.

The innovative Baroque style that served as the primary livelihood in establishing Les Arts Florissants' impeccable reputation is portrayed again in this release of Handel's Acis and Galatea. Conducted by the ensemble's founder, William Christie, Gramophone notes that his new version is "a polished and strongly characterized performance, finely recorded", being the first recording anyone should try.

HANDEL : Harpsichord Suites Nos. 1 - 8

Classical Music

Renowned for their Handel interpretations, Harry Christophers and his award-winning ensemble, The Sixteen, add to their glittering catalogue of Handel discs with this new recording of Jephtha. The last oratorio that he wrote, Jephtha is also often seen as his most profound; the portrayal of Jephtha's suffering is particularly noteworthy for its astonishing sincerity. The Sixteen are joined by a stellar case of soloists including James Gilchrist, Susan Bickley, Sophie Bevan, Robin Blaze and Matthew Brook.

Per il Santissimo Natale

And the mezzo lode continues to run as rich and high-quality as ever, supplying the world with yet another first-rate singer. Of course, Sarah Connolly hasn't exactly come out of nowhere: she's been a member of The Sixteen Choir and has made acclaimed appearances for the past several years in opera roles and concerts throughout the U.S. and Europe. This collaboration with her former Sixteen conductor, Harry Christophers, reveals the impressive maturity and technique of Connolly along with Christophers' solid command of Handelian drama. The repertoire may not be the most common collection of arias (only one is very familiar), but the selection is no less engaging for that; the idea of this recital was to "depict not only the close links between opera and oratorio in Handel's works but also equate the position of hero and heroine." Interesting programming concept aside, what you hear is top-notch Handel singing in some very characterful and artistically challenging pieces.


From Connolly's first notes, "Sta nell' Ircana" from Alcina, we have no doubt about this voice's considerable dramatic capabilities, and we can't help but be impressed with both her range (free of discernible register breaks) and ease of delivery from top to bottom. By the aria's end she's confirmed the power of her lowest register notes and ability to fully embody and project her character. I'm not wild about her "ha-ha-ha-ha-ha" articulation in one of the aria's repeated figures, but since she doesn't exhibit this annoying mannerism anywhere else, I assume it's an intended "effect" (imitating the orchestral figures, perhaps?) and only mention it because it's so striking and uncharacteristic of her singing in general.


Connolly is just as convincing and her voice is as lovely in the slower arias, including "Mi lusingha il dolce affetto" from Alcina (all seven minutes of it!). Her breath control is amazing and she completely enthralls with her attractive, sensible ornaments. And she's lucky to have such a partner in Christophers and his attentive orchestra: listen as he takes Connolly's lead from the intro to Ariodante's tender "Scherza infida" and hands her a perfectly set atmosphere of sorrow and tragic determination. This is the highlight of the CD, Connolly's subtle vocal shading, expressive phrasing, and vibrant tone varying from gently floating to more emphatically projected--the definition of captivating.


Other listeners may cite the following "Dopo notte", a brisk, high-energy aria from the same opera, as the most impressive of Connolly's performances, and it would be hard to argue in light of the singer's command of the reams of rapid runs and wildly leaping lines while maintaining the flow and emotional intensity of this fiendishly difficult seven minutes of music. And then there's the beloved and oft-performed "Verdi prati", which Connolly renders as sensitively and with as sumptuous a tone and smoothly-spun legato as we could hope for. The final "Where shall I fly?" from Hercules is a magnificent display of virtuoso vocalism, although I still prefer Stephanie Blythe's more fluid, richer-voiced rendition--purely a matter of personal taste. And again, much credit must go to Christophers' smart orchestral leadership and to the crisply pointed accents, finely honed rhythms, and warm sound of the Symphony of Harmony and Invention, recorded to the highest modern standard. Some errors in the packaging list several incorrect track timings, but these all indicate that we get less of Connolly when actually we get more--and that's definitely a good thing. [10/11/2004]
--David Vernier, ClassicsToday.com

Classical Music

Harry Christophers and The Sixteen have long been celebrated for their recordings and performances of Handel. Over the past three decades Harry Christophers and his award-winning ensemble have expanded their Handel repertoire to take in his greatest works. They have also made numerous recordings of Handel’s masterpieces and this twelve CD boxed set features a selection of some of their finest discs along with three remarkable solo albums featuring The Sixteen’s celebrated orchestra and acclaimed sopranos Sarah Connolly, Ann Murray and Elin Manahan Thomas.

Reviews of some of the original recordings that make up this set:

Coronation Anthems
By any standards this is a major release. Even in a year which is seeing, predictably, a glut of Handel releases, many of them extremely fine, this stands out. Harry Christophers and The Sixteen have enjoyed tremendous success at home and abroad with performances that have caught the imagination of a public outside (as well as inside) the traditional concert hall (and, to add a quick plug, they will be the subject of next month’s cover story). And here, perhaps more than in any other of their excellent recent issues, they show just why.

This is an opulently sung and played Handel disc but also a cunning one. Christophers has thought deeply about how to pace these works, how to marshall his resources for maximum but never superficial effect. The opening of Zadok the Priest, for instance, so familiar to us all, is here subdued, hushed and steady. When the melody opens out, The Sixteen add power and sheen, giving a sudden surge. It reminds one of the historian Charles Burney's observation of Handel (quoted by Christophers) that "when he did smile, it was his sire the sun, bursting out of a black cloud".

A tremendous issue. One to keep on the shelves and return to frequently.

-- Gramophone [4/2009]

A good modern recording of Samson is overdue. It is extraordinary that this fine work, composed within weeks of Messiah, and in Handel’s day possibly the most popular of all his oratorios, should be represented on the Gramophone Database only by one version recorded nearly 20 years ago and the unidiomatic and heavily cut Harnoncourt recording made in 1992. The new one does not obliterate memories of the old, which captures performances by a generation of British Handel interpreters at their finest (Dame Janet Baker, Helen Watts, Robert Tear, Benjamin Luxon and John Shirley-Quirk, as well as several admirable younger singers). But the new version gives a complete and straightforward account of the work, in tune with styles of Handel performance favoured today. Except in one particular: most conductors of period-instrument groups tend to favour faster tempos than those Harry Christophers generally chooses. This is a decidedly leisurely reading of the work; clearly Christophers has a sense of its magnitude, of the big issues with which it is involved and the nobility of its utterance, and he will not let himself be hurried. I think there are times, especially in the final act, where quicker tempos would have been helpful towards the maintenance of the oratorio’s momentum. Similarly, I wish that he had moved a shade more swiftly during the recitatives, and – or this may be the editors – from one number to the next, simply to sustain the dramatic impetus more strongly. I suspect, however, that Christophers is probably less concerned with the drama of the work than with its religious and philosophical aspects, and of course with presenting a direct and faithful realization of it: a perfectly legitimate approach and one that I am sure many will applaud.

He has an excellent cast. Thomas Randle is well equipped for Samson, a firm, strong tenor, with a hint of baritonal quality in his middle and lower registers. There is no bombast here. “Total eclipse” has much of pathos but no heroics. “Why does the God of Israel sleep” is done with some power, and the renunciation of Dalila (“Your charms to ruin”) is weightily sung; and there is plenty of fire in his rejection of the Philistine braggart Harapha but never at the cost of musical singing. It is not strongly characterized: an estimable performance but one that does not quite catch you by the throat. Samson’s father Manoah is sung with characteristic warmth and depth of tone and feeling by Michael George: listen for example to his “Thy glorious deeds” in Act 1. His bass contrasts aptly with the tauter, more focused one of Jonathan Best’s Harapha. Mark Padmore contributes some well-placed singing as both the Israelite and the Philistine man. Lynne Dawson does the same as the woman from both camps (and also the Virgin, echoing Dalila in one appealing number); she contributes a vigorous “Let the bright seraphim” (which here has a brief choral section at the end, surviving in Handel’s manuscript but probably never heard before). I enjoyed Lynda Russell’s soft, seductive Dalila, a modest role, confined to Act 2; but perhaps above all Catherine Wyn-Rogers excels as Micah, with beautifully intense singing and concentrated tone in all her music – her phrasing in “Then long eternity” and the heartfelt expression in “Return O God of hosts”, for example, are quite outstanding. Stylistically the performance is cautious, with only modest added ornamentation and brief cadenzas, but of course the requisite appoggiaturas in the recitative: if an error, it’s certainly in the right direction.

The Sixteen provide clear and spirited choral singing throughout, suitably jolly in the Philistine music, duly noble in that for the Hebrews. I was struck by the unusual clarity of texture in the choruses, attributable both to Christophers’s direction and insistence on firm tone and incisive articulation and to the work of the engineers. Altogether a welcome issue.'

-- Stanley Sadie, Gramophone [8/1997]

Esther
"There can be little question that the true heroes of the present recording are Christophers, who conducts the work with a fervent conviction that makes the excellent Hogwood look at times a little prosaic, and his quite magnificent chorus, who sing throughout with an incisive precision, superb articulation, and clarity of diction that is often electrifying. Michael Chance sings a wonderful Priest (his intensely moving “O Jordan, Jordan” is one of the highlights of the set) that eclipses that of Drew Minter, and Nancy Argenta provides a poignant reminder of the singer she was with a radiantly joyful “Praise the Lord.” Haman, the one character of real interest (there are surely pre-echoes of Saul in his downfall), is powerfully sung by Michael George...this is a quite splendid performance of a work more often mentioned by historians than heard, a fate it certainly does not deserve."

-- Brian Robins, Fanfare

Delirio Amoroso
"Like most Coro releases to date, this is a reissue of a disc originally put out by the now-defunct Collins Classics label. The present disc dispenses with services of The Sixteen to feature three of the Italian cantatas composed during Handel’s prodigious Italian sojourn (1706–1710), all of those here dating from the first half of 1707. The most conventional in form is Clori, mia bella, a pastoral in which—over the course of four brief da capo arias alternating with secco recitative—a young man experiences the varying emotions attached to the uncertainties of love. The spirit of the piece is none too serious, Handel’s music utterly delicious. Both the other cantatas are more ambitiously planned, providing ample evidence of the young composer’s often-innovative approach to the form. Armida abbandonata, scored for just two violins and continuo, but here done with a fuller body of strings, has as its subject the abandonment of the sorceress Armida by the Christian knight Rinaldo as related in Tasso’s Gerusalemme liberata, a topic to which Handel was to return in his first London opera, Rinaldo. It opens with a remarkable accompanied recitative in which the singer is accompanied by two violins senza basso, then proceeds to a heartbroken aria of ravishing beauty, and a highly dramatic accompanied dramatic recitative in which the scorned Armida gives vent to her conflicting emotions.

The semidramatic Delirio amoroso is designed on an even grander scale, the vocal writing being more virtuosic, with each of its arias having an obbligato part. The text by Handel’s Roman patron Cardinal Benedetto Pamphili also taps into the fashionable Arcadian theme. In her delirium, the scorned and distraught Chloris follows her unfaithful dead lover to Hades, only to be rejected once more. Out of compassionate love, she leads him to Elysium, where a beautiful Entrée prefigures the idea of Gluck’s blessed spirits.

The much admired, indeed much loved, Irish mezzo Ann Murray makes no pretence of being an early-music singer, but she brings considerable style to these splendid examples of Handel’s burgeoning flair and invention. The voice itself sounds lovely, and it is produced with an enviable ease, floating and phrasing Handel’s wonderful melodies with real musicality. Equally as important are Murray’s strong powers of communication and feeling for text."

-- Brian Robins, Fanfare

Heroes and Heroines / Sarah Connolly
"And the mezzo lode continues to run as rich and high-quality as ever, supplying the world with yet another first-rate singer. Of course, Sarah Connolly hasn't exactly come out of nowhere: she's been a member of The Sixteen Choir and has made acclaimed appearances for the past several years in opera roles and concerts throughout the U.S. and Europe. This collaboration with her former Sixteen conductor, Harry Christophers, reveals the impressive maturity and technique of Connolly along with Christophers' solid command of Handelian drama. The repertoire may not be the most common collection of arias (only one is very familiar), but the selection is no less engaging for that; the idea of this recital was to "depict not only the close links between opera and oratorio in Handel's works but also equate the position of hero and heroine." Interesting programming concept aside, what you hear is top-notch Handel singing in some very characterful and artistically challenging pieces.>

From Connolly's first notes, "Sta nell' Ircana" from Alcina, we have no doubt about this voice's considerable dramatic capabilities, and we can't help but be impressed with both her range (free of discernible register breaks) and ease of delivery from top to bottom. By the aria's end she's confirmed the power of her lowest register notes and ability to fully embody and project her character. I'm not wild about her "ha-ha-ha-ha-ha" articulation in one of the aria's repeated figures, but since she doesn't exhibit this annoying mannerism anywhere else, I assume it's an intended "effect" (imitating the orchestral figures, perhaps?) and only mention it because it's so striking and uncharacteristic of her singing in general.


Connolly is just as convincing and her voice is as lovely in the slower arias, including "Mi lusingha il dolce affetto" from Alcina (all seven minutes of it!). Her breath control is amazing and she completely enthralls with her attractive, sensible ornaments. And she's lucky to have such a partner in Christophers and his attentive orchestra: listen as he takes Connolly's lead from the intro to Ariodante's tender "Scherza infida" and hands her a perfectly set atmosphere of sorrow and tragic determination. This is the highlight of the CD, Connolly's subtle vocal shading, expressive phrasing, and vibrant tone varying from gently floating to more emphatically projected--the definition of captivating.


Other listeners may cite the following "Dopo notte", a brisk, high-energy aria from the same opera, as the most impressive of Connolly's performances, and it would be hard to argue in light of the singer's command of the reams of rapid runs and wildly leaping lines while maintaining the flow and emotional intensity of this fiendishly difficult seven minutes of music. And then there's the beloved and oft-performed "Verdi prati", which Connolly renders as sensitively and with as sumptuous a tone and smoothly-spun legato as we could hope for. The final "Where shall I fly?" from Hercules is a magnificent display of virtuoso vocalism, although I still prefer Stephanie Blythe's more fluid, richer-voiced rendition--purely a matter of personal taste. And again, much credit must go to Christophers' smart orchestral leadership and to the crisply pointed accents, finely honed rhythms, and warm sound of the Symphony of Harmony and Invention, recorded to the highest modern standard."
--David Vernier, ClassicsToday.com [10/11/2004]

Of all Handel's great oratorios, Israel in Egypt is second only to Messiah in drama. It is dominated by massive virtuosic choruses, making it the perfect piece for The Sixteen, acknowledged by audiences and critics alike. It's not surprising that Israel in Egypt is much-performed. Hailstones and lightning, buzzing flies and leaping frogs, are all brilliantly evoked for choir and orchestra in a series of incisive choruses leading us excitedly through the plagues of Egypt and the crossing of the Red Sea as we follow Moses and the Children of Israel through the story of the Exodus. The epic nature of the story could not be more suited to Handel's genius for story-telling and drama.

2009 3 X CD 250th anniversary celebration release of Handel's oratorios. This Berlin Classics collection gives it a whole new look. The Belsazar (Belshazzar) Oratorium in Drei Akten HWV 61 performers include Peter Schreier, Renate Frank-Reinecke, Ute Trekel-Burckhardt, Gisela Pohl, Hermann Christian Polster & more.

HANDEL Coronation Anthems . Organ Concerto, op. 4/4. Salve Regina 1. Semele 1 : Endless Pleasure, Endless Love; My Racking Thoughts; O Ecstasy of Happiness! … Myself I Shall Adore. Solomon: Arrival of the Queen of Sheba • Harry Christophers, cond; The Sixteen Ch and O (period instruments); 1 Carolyn Sampson (sop) • CORO 16083 (DVD: 120:00) Live, London 8/12/2009


This BBC Proms concert, titled A Handel Celebration , commemorates the 250th anniversary of Handel’s death and the 30th anniversary of the founding of The Sixteen, which got its name from the fact that the original chorus had 16 members. The forces used here are a bit larger than those Harry Christophers usually employs. The mixed-voice chorus numbers 30, and the orchestra is listed at 42 members, although it does not appear that they are all onstage at the same time.


The Sixteen has been one of the best period-instrument groups since its founding, and one can see and hear here that both chorus and orchestra remain at the top of their form. Christophers leads performances that are respectful of Handel’s scores, with well-chosen tempos. The orchestra plays with precision (with the occasional slightly sour note to be expected of a live performance), and the chorus projects the words of the four Coronation Anthems vividly. Carolyn Sampson is outstanding in the Salve Regina and the three excerpts from Semele . In the Semele selections, she more than sings the notes; she uses her body and face to create the character she is portraying.


I have stated before that I do not see much use for a DVD preserving a concert because of the limited variety of visual images available in such a setting. Sampson’s portrayal of Semele does, however, provide some justification for seeing as well as hearing her performance, especially in the case of “Myself I Shall Adore.” Christophers hands Sampson a mirror before she begins the aria, and she uses it in giving an engaging performance that draws laughter from the audience, followed by a well-deserved ovation.


The version of the organ concerto featured here is the original version. Although Handel’s organ concertos were written to be performed between the acts of his oratorios, in the first performances in London of Athalia , the concerto was written to be performed before the final (“Hallelujah”) chorus and integrated into it. That is the version we get here, with the chorus.


The DVD has a short interview with Christophers during the intermission of the concert and a slightly longer one as a bonus feature. For some unknown reason, one of the anthems and the Salve Regina are removed from their places in the concert and put into the bonus features section. The anthem My Heart Is Indicting originally concluded the first half of the concert, and Christophers refers to it in his intermission interview, a reference that is puzzling unless one knows that he had just performed the anthem. The Salve Regina was originally the second item in the second part of the concert. Their placement as bonus tracks is nonsensical. The only other bonus feature is written biographies of the principals.


Christophers has recorded most of this material on CD, all available on Coro. His Coronation Anthems is one of my two preferred versions. The organ concerto and the sinfonia from Solomon can be found as additional tracks on that CD. The Salve Regina and selections from Semele are not otherwise available from these forces.


For those who enjoy concert performances, this DVD is an easy recommendation. For the rest of us, the previously unrecorded selections, especially Sampson’s items from Semele , make this a tempting purchase.


FANFARE: Ron Salemi

The nature of 'Alexander's Feast' is perhaps better summoned up by its other title, 'The Power of Music'. It is a celebratory ode for St. Cecilia's Day, written by Dryden in 1697 for the City of London's traditional celebration of the patron saint of music, and set in celebratory style by Handel in 1736. At its first performance that year, he incorporated two delightful concertos, one for harp and the other for organ, and these are included on this recording.

Handel, G.F.: Crudel Tiranno Amor / Ah, Che Troppo Ineguali

SONG OF JOY:DIE SCHÖNSTEN CHÖR