John Eliot Gardiner’s recording was made live at the Göttingen Festival in 1988 … the exhilaration and intensity of the performance come over vividly, with superb singing from both chorus and an almost ideal line-up of soloists … as for the Monteverdi Choir, their clarity, incisiveness and beauty are a constant delight.(Penguin Guide)
The work is an extraordinary curiosity; a child of the heady days just before the French Revolution, Tarare is the famous French writer's only opera and one of the Italian composer's rare French scores. First and most strikingly a work of social and political commentary, Tarare is also an entertaining work of theatre. Salieri's music supports these aims admirably and offers a few memorable moments of its own. As an opera form, Tarare defies easy categorization; it may be best described as a comedic satire dressed in the clothes of a sprawling 5 act lyric tragedy, complete with Prologue and a grand divertissement with dance.
Despite the use of period instruments, including some fine blaring natural horns, this couldn't be called a historically informed performance of Handel's Royal Fireworks Music, HWV 351. The work was not composed for a pleasant onboard afternoon musicale like the Water Music, but instead was part of an event that would have been one of the top items on CNN Headline News for 1749: the celebration of the Peace of Aix-la-Chapelle, brokered by King George II.
Marc Minkowski has led numerous outstanding Handel recordings, but he's up against stiff competition in Messiah. There are plenty of outstanding ones to suit all tastes, from Colin Davis's traditional performance on Philips to those of early-music specialists such as Hogwood, Suzuki, Christophers, and Pinnock. Minkowski is wildly original, and his version is unlike any other; it will intrigue some and anger many.
This disc brings together recordings made in the 1980's as part of a reduction of three original discs down to two. At the same time, the original fine recordings have been remastered to good effect with added depth and space. This makes a particularly important improvement to the Coronation Anthems which previously came over as sonically lacking ideal breadth, depth and recorded weight in Zadok. The ears adjusted after that.
It's been conventional wisdom for several generations that Solomon, great oratorio though it may be, contains a lot of deadwood; conductors have regularly cut some items and changed the order of others. (Even John Eliot Gardiner's excellent recording cuts about 30 minutes of music.) Leave it to Paul McCreesh to give us the complete score–and demonstrate that Handel's original structure makes plenty of sense and that every number is worthwhile.
Here we have the first recording of Handel's final Italian opera with a period instrument orchestra, chorus and a superb American cast. Deidamia was Handel's last opera. He began work on it in October, 1740, at the same time he was completing its companion work, Imeneo, which he had begun two years earlier. On November 8, Handel presented his London winter season - with some new works, some revivals - and for this purpose had engaged the Theatre Royal at Lincoln's Inn Fields. Opening night saw a semi-staged version of the serenata Il Parnasso in festa; later in the month came the premiere of Imeneo. Despite a superb score and fine cast, the production was a failure and was offered only once again in early December. The fact is that opera - Italian opera - was passe in London by this time. The public had turned to other musical delights - stage works in English of a more frivolous nature than Handel's offerings.