Emma Kirkby always has been an excellent Handel singer, from her two 1985 recordings--Italian Cantatas with Christopher Hogwood and the Academy of Ancient Music (L'Oiseau...

Emma Kirkby always has been an excellent Handel singer, from her two 1985 recordings--Italian Cantatas with Christopher Hogwood and the Academy of Ancient Music (L'Oiseau Lyre) and German Arias with Charles Medlam and the London Baroque (EMI)--and 1987's Aci, Galatea e Polifemo, again with the London Baroque (Harmonia Mundi) to this new, exemplary program of Latin motets. Kirkby, now in her early 50s, retains a remarkably youthful sound, exhibiting all of her admired agility and intonational accuracy, but with more richness in the lower register than in her younger days. Her upper notes also have more body and warmth than ever--gone is the tendency to screech on the quickest, highest pitches. Interpretively she commands a range that includes graceful swinging dance (the first movement of the Laudate pueri), lyrical prayerfulness (Largo and Adagio opening of the Salve Regina), and just full-out, uncompromising virtuosity (the Alleluja ending of O qualis de caeli sonus; the recitative third section of Laudate pueri). Kirkby also offers some wonderfully subtle expressive effects that show off her full powers of vocal control (the first syllable of "seculum" at the end of the second section of Laudate pueri) while making the music and her performance even more memorable.


Of course, Handel gives Kirkby some lovely music to sing--some of his finest melodies and exciting vocal challenges--and she seems to relish every moment. The "orchestra"--two violins, cello (played by conductor Charles Medlam), and organ--adds some memorable moments of its own via a trio sonata (with one of Handel's more irresistible slow movements) that comes in the middle of the program, but these players really shine in their accompanying role, always in complete interpretive sync with the singer. The sound leaves nothing to be desired--ideally balanced, clear, natural voice and instruments in a well-mannered, complementary acoustic.
--David Vernier, ClassicsToday.com