Handel composed his oratorio La Resurrezione in 1707 with a libretto that provided a dramatic canvas for his new work: lamentation on Christ's death contrasted with violent exchanges between the Angel and Lucifer. It inspired the young Handel to compose music of lavish richness and expressive drama. In this historically informed performance, conductor Attilio Cremonesi has done extensive research into the work's 1708 premiere in Rome.

Handel is one of Sandrine Piau’s cult composers, and everyone has vivid memories of her magnificent Alcina on DVD (ALPHA715): ‘Where once I portrayed light-hearted, pirouetting heroines, this new album offers a portrait of powerful, often wounded women.’. . . ‘Queens, sorceresses, sirens . . . we were attracted by the musical and emotional intensity of the hopes, disappointments and sufferings of these women, not forgetting the malice or cruelty that they also know how to deploy’, continues Jérôme Correas, the soprano’s longstanding musical partner and conductor of Les Paladins. With Almirena, Cleopatra and Alcina, Handel explores all the facets of these defeated heroines, whose boldly delineated characters live once more in Sandrine Piau’s passionate interpretation.

Includes arias from:

Lotario | Rinaldo | Giulio Cesare | Alcina | Amadigi di Gaula | O numi eterni

Plus movements from the Concerti grossi

REVIEW:

Sandrine Piau, not English and not even Italian, is arguably the greatest Handelian soprano of the day. She gets excellent support from the smooth historical performance group Les Paladins. She and director Jérôme Correas mesh beautifully. This all comes down to a magnificent artist at the top of her powers.

-- AllMusicGuide.com (James Manheim)

To mark the Coronation of King Charles III, we have brought together the most famous pieces of music from the coronations of James II in 1685 and George II in 1727. The masterpieces by Purcell and Handel display an extraordinarily evocative force: their “Grand Style” put a magnificent stamp on the Ceremonial of the Crown of England. Drum rolls and glorious trumpet fanfares herald the acclamations of Westminster: God Save the King!

No noblemen in England and very few in Europe lived a life as splendid, as magnificent, as grand as that of the Duke of Chandos. At Cannons, north of London, the residence of James Brydges (1674-1744) hosted Handel from 1717 to 1719, where he worked with the Prince’s musical forces, composing eleven anthems for soloists, choir and orchestra, destined for the religious services of the court. A precious collection and a testing ground for the master’s future great oratorios, the Chandos Anthems fuse genres with impressions of Italian cantatas, Corellian sonatas, arias and choruses in the pure English tradition of Purcell. All too little-known, these gems are led with panache by Gaétan Jarry and captivate instantly with their virtuosity, their light texture and their colors, generously painted by Handel’s genius!

The great baroque composer George Frideric Handel’s final masterpiece!

Recorded live in September 2022 by multi-GRAMMY®-award winning engineer Christopher Willis, JEPHTHA is performed by Music of the Baroque - Chorus & Orchestra, conducted by acclaimed British conductor Dame Jane Glover, who has been its music director since 2002.

Now in its fifth decade, Music of the Baroque is one of the leading professional ensembles in America devoted to 17th and 18th-century works. The Chicago Sun-Times writes, “Lyric Opera of Chicago and the Chicago Symphony Orchestra may be the big guys on the local classical music scene, but in terms of sheer quality of performance… Music of the Baroque inhabits the same stratosphere.” Andrew Megill directs the Chorus and six outstanding vocal soloists in this definitive performance of Handel's sublime oratorio JEPHTHA."

REVIEW:

The recording is present and vibrant. The balance of the harpsichord seems particularly right here. The solo voices are placed forward, but not excessively so. All told, this exciting release presents as compelling and dramatic a performance of Handel’s Jephtha as one could want. Urgently recommended.

— Fanfare

Barthold Heinrich Brockes was an influential German poet who added reflective and descriptive poetry into the texture of his Passion. Among several musical settings, the most famous is the one by Handel. This acclaimed staged version transports Handel's Brockes Passion into the opera house, widening the work's historical narrative to embrace the creation of the world, bringing a message of human greed and destruction into direct contact with the present day. The Handelfestspielorchester Halle, on period instruments, is conducted by Michael Hofstetter.

...“full of the most delicious music you could ask to hear, and the players give every indication of loving every note they play” was how one enthusiastic reviewer described the first volume of aria arrangements on SOMM, of “Handel at Home” (SOMMCD 055) with the London Handel Players in Pan Magazine. Indeed, it is an attestation of Handel’s power to speak to the very depths of one’s soul, to touch the heart and to rouse the spirit that after many years performing the repertoire, the London Handel Players present here “Handel at Home” Vol 2.

A second selection of popular operatic arias either in contemporary settings or their own arrangements inspired by the original luscious scoring.In the 18th century, the demand for such arrangements was high, since they provided a gratifying means of revisiting theatrical highlights in the domestic environment. Handel’s publisher, John Walsh, made numerous arrangements of various overtures and Handel himself may well have reworked the solo keyboard version/rendition of Ombra cara from Radamisto. Babell’s florid embellishment of the ever popular Lascia ch’io pianga from Rinaldo demonstrates a free interpretation adorned with extravagant Italianate ornamentation.The beautiful rendition of the Overture to Samson for solo flute with continuo is taken from Walsh’s extensive publication and LHP have reinstated the string accompaniment in Total Eclipse and Thus when the Sun for added drama.

The lyrical arias from Rinaldo, Giulio Cesare and The Choice of Hercules proved irresistible and they made their own arrangements! “The London Handel Players often capture the elusive dramatic and orchestral context of the arias in these chamber arrangements. Their consummate musicianship is consistently delightful: sparkling violin-playing (often with two players in perfect unison) and superb continuo contributions are just as impressive as Rachel Brown’s poetic flute solos.” David Vickers, Gramophone – Handel at Home.

Handel's journey from Halle via Hamburg, Rome and Hanover to London is the story of an unprecedented ascent: from the auxiliary organist to the child of the High Aristocracy, from the courtly conductor to the free-lancing artist in the most exciting cultural metropolis of Europe. At the age of 26, he was a European celebrity, claiming to be a leading opera composer in the hard-fought music market of London, through his activities for the royal house and his church music, which also played a political role in the Anglican state religion: the king was the head of the church and The glorification of God served at the same time to represent its temporal power. The dramaturgically directed effect of Handel's mighty splendor could and cannot escape. In Jörg Handsteins audiobiography "The Power of Music" in nine chapters and on a total of 3 albums you can hear about the life of Handel, his most famous and most important compositions are heard, which are closely interwoven with the very exciting biography. The numerous musical examples are from well-known interpreters, choirs and orchestras - all of them important baroque specialists. A lively, music-rich portrait of Handel and his time - strictly according to the original sources, but always alive and narrated and inspired.

Although Israel in Egypt was first performed on 4 April 1739 in tripartite form, Handel probably first composed this oratorio without a complete text. Herve Niquet has chosen to record the version in two parts that Berlioz and the whole of the 19th century considered definitive, these being the Exodus and the Song of Moses. Produced just after the Covid pandemic, this recording also shows the joy of Le Concert Spirituel's singers and instrumentalists at making music together again: Herve Niquet says the final chorus "is a cry of happiness in unison" and sees an "almost palpable drama in these works: the two choruses face each other on either side of the orchestra and respond to each other in violent retaliations and monumental unisons. Their interweaving in diabolical movements is like a theatrical staging before our very eyes."

In the summer of 1717, after performing his Water Music during a royal cruise on the Thames, Handel began composing for James Brydges (1674-1744), who became the first Duke of Chandos and created the Cannons Concert at his estate in Cannons (near Edgware), with ten instrumentalists and three singers. Handel composed eleven anthems and a Te Deum for him from August 1717 onwards, as well as transposing and revising As pants the hart (HWV 251b). O sing unto the Lord a new song (HWV 249b) is an adaptation of an anthem written three years earlier for the Chapel Royal. The anthem Have mercy upon me, O God (HWV 248) was composed in 1717 and is a paraphrase of the Miserere. The Alleluia of Let God arise (HWV 256a) prefigures the famous Hallelujah chorus from Messiah (1741). Arcangelo and Jonathan Cohen now revive these four Chandos anthems composed for Cannons with eight singers and eleven excellent instrumentalists.

For the first time, the Irish Baroque Orchestra and it's Artistic Director Peter Whelan have recorded what can be considered the ensemble's signature work, Handel's Messiah, an annual touring highlight in the IBO calendar. Surprisingly, this is the first recording on historical instruments by an Irish ensemble - given the work, a staple of oratorio music, was premiered in Dublin in 1742. That year, a struggling Handel came to the second-biggest city in the British Isles to rekindle his fortune. After the premiere (700-strong attendance; the ladies were asked to come without hoop-framed skirts and the gentlemen without their swords), Handel left Dublin a much richer man. The Irish Baroque Choir and an array of first-class singers (Hilary Cronin, Helen Charlston, Alexander Chance, Nathan Mercieca, Guy Cutting, Frederick Long, and Edward Grint) join the IBO to try and capture something of the atmosphere of that extraordinary moment, in a recording which traces back the origins of this enduring masterpiece.

Yuletide is the mid-winter period from Hannuka, through Christmas, to the celebration of Twelfth Night. From the late 1950s through the 1970s it was seemingly obligatory for all artists from Jazz to Punk to make a Christmas album. With Yuletide Treats, Duo Pleyel joins that spirit and tradition, with some of the greatest classical hits for your festive delight. Comprising keyboardists Alexandra Nepomnyashchaya and Richard Egarr, Duo Pleyel begins with three beautiful, transcendental and intimate movements from Franz Liszt's 'Christmas Tree Suite'. Then follows 'For unto us a child is born' and 'Hallelujah' from Handel's Messiah. No New Year's celebration is complete without the Strauss family's 'Blue Danube' and 'Radetzky March'. Finally, they present Tchaikovsky's 'Nutcracker Suite'. All performed on a Chris Maene Straight Strung Concert Grand, this album is to be listened to at high volume with a large glass of something delicious.

Handel's arrival in Rome seems to have had a miraculous influence on his development as a composer. Something about the eternal city ignited the most productive period of his entire career: there Handel worked with some of the greatest musicians of the age and enjoyed the favours of major patrons of the arts. There he also witnessed the clerical aristocracy's sensual enjoyment of those very luxuries, excesses, and trappings of beauty that they professed to deny in their sermons. In Handel in Rome, Dunedin Consort and it's director John Butt set out to convey Handel's response to this stimulating and somewhat paradoxical environment with three Italian cantatas. Winner of the Rising Talent award at the 2022 International Opera Awards, Nardus Williams is the star soprano.

Apollo’s Fire’s founder and director Jeannette Sorrell is “a masterful musical storyteller” (Seen and Heard). The Maestra and her acclaimed baroque orchestra add to their distinguished AVIE discography that includes Handel’s Dixit Dominus and Messiah, with her own adaptation of the composer’s oratorio Israel in Egypt. This colorful orchestral showcase takes the listener on a biblical journey from the Israelites lamentations on the death of Joseph, to the frogs, locusts, disease and darkness that plague the Egyptians, to Moses’ miraculous parting of the Red Sea.

For his tenth solo recording for Alpha Classics and Outhere Music, Nelson Goerner returns to a composer he particularly cherishes: Schumann, here with the Davidsb�ndler, his imaginary music society created to combat the Philistines, musicians considered decorative and traditionalist (such as Rossini, Bellini, and Donizetti). Robert began the Davidsb�ndlert�nze a few days after 14 August 1837, the date of his engagement to Clara. Between idyllic dreams and impassioned protests, Goerner is able to develop his full sense of narrative... In addition, he puts his sensitivity to work on Handel's 21 variations on the Chaconne in G major, published in 1735 under the title 'Suite No. 2'. Viennese sweetness and virtuoso intoxication conclude this recital with the Arabesques on 'The Blue Danube' by Johann Strauss Jr., written by the Polish composer Adolf Schulz-Evler (1852/4-1905).

A household word when speaking of repertoire, legendary flutist Jean-Pierre Rampal devoted just as much effort to establishing the masterpieces in their rightful place as to unearthing countless works from the baroque, classical and romantic eras. As far as concertos are concerned, cornerstones by Bach, Mozart and Vivaldi thus gained worldwide fame, and it went the same way for Ibert, Jolivet and Nielsen. Unfailing lyric sense, purity of style, magnificent tone, grace of phrasing, fabulous virtuosity, tremendous commitment... Critics, colleagues and the public were all running out of superlatives. Immediately valued as references, his recordings still fascinate and often leave the listener exhilarated. This 12 CD set tries the challenge of surrounding these marvels with some of the most dazzling rediscoveries, offering famous and less famous music, but equally glorious interpretations.

His exceptional touch and sense of phrasing, his deep and personal understanding of the most varied repertoires, or even the legendary trio he formed together with Jacques Thibaud and Pablo Casals, made Alfred Cortot the greatest pianist of his time. Master of many disciples, notably the brilliant Dinu Lipatti, Samson François and Clara Haskil, Cortot also had a lasting influence on the Russian piano school through Samuil Feinberg and Heinrich Neuhaus, the latter himself being the revered teacher of Sviatoslav Richter.

All of the recordings in this set had undergone careful sound restoration in 2012, in order to respect as closely as possible the original sound. The remastering was carried out under the expert control of Mr. Guthrie Luke, a former disciple of Alfred Cortot who attended many recording sessions by Cortot. These recordings do not represent a "complete" edition: the many rolls engraved by the artist for Duo-Art, Aeolian and Pleyela labels have not been reproduced here, most of them doubling the 78-RPM repertoire. The first recordings are acoustic; and the ones with an electric microphone appeared as early as 1926.

The magnificent Christopher Purves performs a recital of Handel's bass arias. This unique collection demonstrates the range and brilliance of Handel's writing for this voice, featuring a selection from Italian and English operas, English classical drama, Biblical oratorios, literary odes and a masque. Handel's endlessly imaginative gift for characterization is fully explored here, with Purves commanding an extraordinary emotional and technical range from the buffo blustering of Polyphemus in Acis and Gatalea to the loving musings of Abinoam in 'Tears, such as tender fathers shed' from the oratorio Deborah. 'With his acting chops and weighty bass-baritone, Purves in full cry is a splendid and fearful spectacle' (The Times)

Classical Music

A new production by Opera de Lille

A new production by Opera de Lille

Classical Music

Classical Music

Recorded in: St Jude on the Hill, Hampstead, London 11-17 January 1991 Producer(s) Tim Oldham Sound Engineer(s) Richard Lee Peter Sheldon (Assistant)

Recorded in: St Jude on the Hill, Hampstead, London 30 January-1 February 1989 Producer(s) Martin Compton Sound Engineer(s) Anthony Howell

Classical Music

Classical Music

HANDEL: Cantatas (HWV 82, 142 and 150)

HANDEL: Athalia

HANDEL: Saul