The songs of late Renaissance and early Baroque England have been sliced and diced in various ways in concert and recorded programming, but the configuration here seems to be unique. The tenor Nicholas Phan, from Ann Arbor, Michigan, devised the program himself: pointing out "how little human experience has changed over the centuries" and that Dowland's melancholia had much in common with the Romantics' veneration of the lovesick solitary hero (both debatable ideas, but both stimulating), he assembles what he calls a pastiche song cycle from compositions by Purcell, Dowland, John Blow, and other lesser-known lights.
The impressive discography of Handel operas and oratorios from Nicholas McGegan continues with this recording of Radamisto, made following staged performances of the opera at the 1993 Göttingen Handel Festival. Generally speaking, McGegan has derived better results in those sets using the Freiburg Baroque Orchestra (as here) than in those made with his Californian forces. The German players sustain his brisk tempi with relative ease, though McGegan’s penchant for spiky staccato and short, snatched phrases rather than long lines does not always do the music full justice. The stars are the countertenor Ralf Popken in the title role and Juliana Gondek as his long-suffering wife, Zenobia. Popken has the technique to get round the heroics of ‘Perfido’ with ease, yet delivers the expressive slow numbers, such as ‘Cara sposa’, with exquisite eloquence. Gondek is equally versatile: formidable in her rage arias, touching in the griefstricken ‘Quando mai’. (Barry Millington)