This is a magnificent recording with an absolute dream cast. Despite its historical context within the late 11th century battles between the Crusades and the Saracens, Handel's "Rinaldo", written in the early 18th century, is actually a fanciful tale of love, devotion and betrayal populated by kings and warriors, fair maidens and sorcerers. It has all the elements of a great period action movie produced by Jerry Bruckheimer…
Cecilia Bartoli is loved the world over for vocal fireworks and spectacular coloratura, but she is also adored for her spine-tingling pianissimi and her ability to shape endless, velvety phrases. For the first time, this product will focus on the irresistibly sensual side of Cecilia Bartoli's art.
“[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.
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.
This was to be the end of the line for Italian word-setting by Viennese composers: once the confident sentiments that belonged to the poet Metastasio's opera seria felt the chill and threatening wind of Enlightenment and Revolution, their time was up. Even we, for the most part, prefer to remember the German-speaking Beethoven, Schubert and Haydn. So it is good to be reminded of their responses to the Italian muse (usually as part of their craft-learning student work) in this particularly well-cast recital. Central Europe, in the person of Andras Schiff meets Italy, in Cecilia Bartoli, to delightful, often revelatory effect.
In collaboration with Giovanni Antonini, Riccardo Minasi and Maurizio Biondi, Cecilia Bartoli restores the sound and spirit of Norma in a landmark Decca recording based on the opera’s original sources. Cecilia Bartoli leads a fabulous cast in Decca’s groundbreaking new recording, which presents Vincenzo Bellini’s Norma in a form that is complete with the exquisite mix of vocal and instrumental colours that Bellini intended for his ‘tragic opera’.
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.