In 2009 the music world celebrates the 250th anniversary of Georg Friedich Handel's death.
"Caro Amor" presents on 2 CDs the most beautiful and expressive arias from his most famous operas and oratorios, performed by the best in their field: Ian Bostridge ("Ombra mai fu", "Where'er you walk"), Maria Bayo ("Lascia ch'io pianga"), Vesselina Kasarova ("Caro Amor"), Nuria Rial and Lawrence Zazzo ("Alma mia, dolce ristoro", "Caro amico amplesso"), Angelika Kirchschlager ("Qui d'Amor," "Scherza Infida","Cara Spem"), Marijana Mijanovic ("Qual nave smarrita"), Annette Dasch ("Ah Crudele") and instrumental gems, played by Gabor Boldoczki ("Arrival of the Queen of Sheba"), Il Complesso Barocco, Kammerorchester Basel, etc. The double CD will be released as a high quality 2 CD digipak with a very attractive cover and is the right product for the many fans of beautiful Baroque music.
Rinaldo by G.F. Handel, first performed on 27th February 1711 in London, belongs to the short but rich series of operas on magical subjects that the composer produced between 1710 and 1735. Both the musical and dramatic material of the opera are handled in eighteenth century fashion, especially evident in the arias which are succesful in melodic as well as in psychological terms and in the"recitativo secco"which Is perfectly cantabile, though often much reduced since the opera's English audience would have found the Italian text incomprehensible. We should not however overlook the eighteenth century mould of the general organisation of the work. The material Itself, supernatural and fantastic, entails a somewhat lightweight aspect in situations and characteristics which are only apparently coherent and which relate to a narrative process that is fairly free in its treatment of plot. Moreover the insertion of magic and the irrational, which were favoured by the stagecraft of the day, serves to accentuate its typically baroque character.
This set contains 8 operas by Handel in 22 CDs. This set is an essential for Handel completists in that it includes Kuijken's excellent "Alessandro." It is one of Handel's best operatic creations.
“[These suites] have rarely been recorded or promoted by harpsichordists during the most recent revival of interest in ‘early music.’” I realize that Richard Egarr is entitled to his own opinions—his liner notes on an earlier release, for example, likened the humor in Purcell’s harpsichord music to that of the wonderful old 1950s BBC comedy The Goon Show —but he’s not entitled to his own facts. Christopher Brodersen pointed out in a 2011 review of these works featuring Laurence Cummings ( Fanfare 34:5) that ArkivMusic listed nine complete sets played on the harpsichord, with several others on the piano. I find some of the suites have considerably more recordings than that, in 2014: 26 for the Suite in A Major, 28 for the Suite in D Minor, 25 for the Suite in E Minor, 47 for the Suite in E Major. If such numbers reflect rare recordings, I have to wonder what Egarr would consider a moderate number, let alone a frequent one.
After its successful premiere, Rossini’s opera “Armida” was quickly forgotten, only to be triumphantly revived by Maria Callas in 1952, and ever since it is considered a masterpiece. This performance with primarily Italian forces, has all the wit, charm, beauty and sparkle that any Rossini opera can wish for. Some big names here: Cecilia Gasdia, Chris Merritt,William Matteuzzi and Ferruccio Furlanetto. Great addition to the Brilliant Classics Opera Collection. Armida is today considered one of Rossini’s greatest operas, but following its premier in Naples in 1817 it quickly faded from the standard operatic repertoire. Its plot of knightly duties, love and supernatural worlds (foreshadowing Weber in places) inspired the composer to write some of his most original and inimitable music, with unusual combinations of instruments and some beautiful extended solos for cello and violin.The love music is undeniably heartfelt and sincere; Rossini’s inspiration may have been assisted by his romantic involvement with the soprano Isabella Colbran, a major star of the time and the first to perform the title role.
Classical music is one of the greatest joys in life. Opera on the other hand, is often too melodramatic to stomach. But there is nothing more enchanting than an Aria. On this 2 CD set, Emma Kirkby sings in sweet exultation. Her voice expresses power and agility yet a limpid tranquility. Clarity is the greatest achievement of any musician. With the aid of precision accompaniment on period instruments, shameless perfection is delivered. She soothes the soul longing for beauty. Her marvelous Soprano is rendered on 25 tracks in this eclectic ensemble. If you are a champion of Handel or a devotee of Mozart, you should not hesitate to purchase this CD. Emma Kirkby will have you beaming with delight and pining for more. Surely it will be one of the brightest of your collection.
Steven Isserlis and Richard Egarr here assemble all the viola da gamba sonatas written by three composers born in the propitious year of 1685: one each by Handel and Domenico Scarlatti, and three by JS Bach. Isserlis plays them on the gamba’s modern cousin, the cello, and the microphone loves his playing, picking up all the nuances and scampering asides from his soft-spoken instrument which can sometimes get lost in big concert halls. Egarr on harpsichord matches Isserlis’s eloquence and rambunctious energy all the way. The dreamy, airy slow movement of Bach’s Sonata in G minor brings telling use of vibrato as Isserlis circles around Egarr, his playing at once idiomatic and soulful. An extra cellist reinforces the bass line in the Handel and Scarlatti, in which the composers give the harpsichordist only a framework; Egarr’s imaginative realisations ensure that even when Scarlatti is at his most repetitive, he is never dull.