Handel Glorias

B'Rock Orchestra, René Jacobs - Handel: Orlando (2014) [Official Digital Download 24/96]

B'Rock Orchestra, René Jacobs - Handel: Orlando (2014)
FLAC (tracks) 24-bit/96 kHz | Time - 159:39 minutes | 3.13 GB
Studio Master, Official Digital Download | Artwork: Digital Booklet

Making his Archiv opera debut, celebrated Handelian and Grammy award winner René Jacobs, the most exciting opera conductor of the day (Münchner Merkur), leads his dynamic, exquisitely honed B Rock Baroque Orchestra Ghent and an outstanding cast in one of the composer s most spectacular and ravishingly beautiful creations recorded at Concertgebouw Brugge in summer 2013.
Peter Neumann, Collegium Cartusianum, Kolner Kammerchor - Handel: Theodora (2000)

Peter Neumann, Collegium Cartusianum, Kölner Kammerchor - Handel: Theodora (2000)
EAC | FLAC | Image (Cue & Log) ~ 664 Mb | Total time: 63:35+51:40+40:51 | Scans included
Classical | Label: MDG | # 332 1019-2 | Recorded: 2000

Written in the summer of 1749, Theodora was premiered in London at Covent Garden Theatre on 16 March 1750. This work, which Handel considered his finest oratorio, was a failure at first - Handel said bitterly that the hall was so empty that "there was room enough to dance there." Part of this failure could be explained by the earthquake that hit London in February of the same year and caused the upper classes to flee the city, but another possibility is that the subject matter of the oratorio - the rebellion of a woman against the power of the state - was a bit ahead of its time.
Vivaldi - Glorias, Dixit Dominus, Magnificat, Beatus Vir (Stephen Cleobury, George Guest, Philip Ledger) (1994)

Vivaldi - Glorias, Dixit Dominus, Magnificat, Beatus Vir (Stephen Cleobury, George Guest, Philip Ledger) (1994)
Classical | Eac. Flac, Img+Cue, Log | Covers | 594.77 MB
Label: Decca | Catalog N.: 443 455-2 | TT: 125:53

Vivaldi's sacred music is not so famous as that of his contemporaries Bach and Handel, so this is a bargain opportunity to catch up. You might think Vivaldi's playful, virtuoso Italianate character and Catholic context would produce radically different music, but in George Guest's urgent readings, the mixture of restrainedly exultant choruses and austerely beautiful arias are near-identical to Bach.
The Academy Chamber Ensemble - Handel: The Complete Chamber Music  (2002)

The Academy Chamber Ensemble - Handel: The Complete Chamber Music (2002)
MP3 CBR 320 kbps | 07:11:46 | 1.02 GB
Classical | Label: Philips
Freiburger Barockorchester, Petra Müllejans & Gottfried von der Goltz - Handel: Concerti a due cori (2018) [24/96]

Freiburger Barockorchester, Petra Müllejans & Gottfried von der Goltz - Handel: Concerti a due cori (2018)
FLAC (tracks) 24-bit/96 kHz | Time - 48:33 minutes | 927 MB
Studio Master, Official Digital Download | Artwork: Digital Booklet

Handel’s focus in his three Concerti a due cori was on lively rhythms, arresting dialogue and vibrant colours, so his slow movements take something of a back seat, except here where he returned to Esther for a long, lilting siciliana in which the reedy oboes add a poignant edge to the movement’s lingering minor-key melancholy. This prepares the way perfectly for the finest movement of the work, which proudly revives a ground bass Handel had first used in his Birthday Ode for Queen Anne in 1713.
Xavier Sabata, Il Pomo d'Oro, Riccardo Minasi - Handel: Bad Guys (2012) (Repost)

Xavier Sabata, Il Pomo d'Oro, Riccardo Minasi - Handel: Bad Guys (2012)
EAC | FLAC (image+.cue, log) | Covers Included | 53:04 | 305 MB
Genre: Classical, Opera | Label: Aparte | Catalog: AP048

The castrato in Italian opera of the early 18th century had vocal power that was often associated with heroic roles, but Handel wrote several memorable villains for the voice type as well. Indeed, using the castrato's star quality to add depth to his bad guys was one facet of his operatic genius, and the idea of collecting a group of these arias is good enough to recommend this album even apart from the vocal gifts of Spanish countertenor Xavier Sabata. And those gifts are considerable. Sabata is a true operatic countertenor, somewhat in the vein of Philippe Jaroussky (to whose album of Vivaldi heroic arias this release makes a fine companion).
Freiburger Barockorchester, Petra Müllejans & Gottfried von der Goltz - Handel: Concerti a due cori (2018)

Freiburger Barockorchester, Petra Müllejans & Gottfried von der Goltz - Handel: Concerti a due cori (2018)
Classical | WEB FLAC (tracks) & d. booklet | 271 MB
Label: harmonia mundi | Tracks: 19 | Time: 48:38 min

Handel’s focus in his three Concerti a due cori was on lively rhythms, arresting dialogue and vibrant colours, so his slow movements take something of a back seat, except here where he returned to Esther for a long, lilting siciliana in which the reedy oboes add a poignant edge to the movement’s lingering minor-key melancholy. This prepares the way perfectly for the finest movement of the work, which proudly revives a ground bass Handel had first used in his Birthday Ode for Queen Anne in 1713.
Max Emanuel Cencic, Diego Fasolis, I Barocchisti - Handel: "Mezzo-Soprano" - Opera Arias (2010)

Max Emanuel Cencic, Diego Fasolis, I Barocchisti - Handel: "Mezzo-Soprano" - Opera Arias (2010)
EAC | FLAC | Image (Cue & Log) ~ 357 Mb | Total time: 64:03 | Scans included
Classical | Label: Virgin Classics | # 50999 6945740 1 | Recorded: 2009

Max Emanuel Cencic accurately describes himself as a mezzo-soprano rather than a counter tenor. His tone, while pure, is colorfully nuanced, nothing like the blanched purity that was once (but is thankfully no longer) stereotypical of counter tenors. A lifetime of singing the most advanced repertoire has given him a confident technique, exceptionally sure intonation, astonishing vocal power, and an effortless-sounding flexibility; at the age of six he sang the Queen of the Night's "Der Hölle Rache on Zagreb" television, and he went on to become a soloist with the Vienna Boys' Choir. On this album he tackles some of Handel's most virtuosic and demanding mezzo arias, most of them relatively unfamiliar. /quote]
Andrew Parrott, Taverner Choir & Players - Handel: Israel in Egypt (2003)

Andrew Parrott, Taverner Choir & Players - Handel: Israel in Egypt (2003)
EAC | FLAC | Image (Cue & Log) ~ 591 Mb | Total time: 68:38+66:36 | Scans included
Classical | Label: Erato | # 5 62155 2 | Recorded: 1989

Using some of the finest early-music soloists of the day, Parrott and his forces give posterity a recording that welds tightly focused emotion to a laudable and uncommon feel for the music. The soloists produce appropriately light but well-focused tone and display an ability to negotiate the intricacies of Handel’s notes evenly and with an exceptional grasp of the phrasing required for successful performance. The choral lines are carefully etched and meticulously balanced, resulting in a superlative overall sound that—in spite of the small choir—is rich and capable of exceeding power when required.
Andrew Parrott, Taverner Choir & Players - Handel: Messiah (2002)

Andrew Parrott, Taverner Choir & Players - Handel: Messiah (2002)
EAC | FLAC | Image (Cue & Log) ~ 670 Mb | Total time: 78:40+67:39 | Scans included
Classical | Label: Virgin Veritas | # 7243 5 62004 25 | Recorded: 1988

Andrew Parrott’s period Messiah from the late 1980s was re-released a few years ago by EMI Virgin Classics, and the re-release amply documents the richness and staying power of this generation of Messiah performances—a richness now removed from the aura of novelty—the “uncle” has been clean shaven for quite a while now. In part, the richness of this performance derives from Parrott’s soloists, then the unrivalled stars of the English early music scene, including soprano Emma Kirkby, countertenor James Bowman, and bass David Thomas.