The Indian Queen was one of Henry Purcell's final works and may in fact have been left unfinished at his death. Defining the state of the text is complicated by the fact that the work is a so-called semi-opera, a defunct form that mixed spoken dialogue, singing, and dance; the function of the surviving music isn't always totally clear. For those reasons, the work hasn't often been recorded. Many of the individual numbers are splendid examples of Purcell's style, with his sparkling ensemble dances and exuberantly rhythmic major-key tunes that seem to shake off dour minor introductory sections.
Live record from a concert in the "Resonanzen 1999" series, Wiener Konzerthaus 1999.
Compilations are highly useful in understanding the works of the inexhaustibly tuneful British composer Henry Purcell (1659-1695). He had a few big hits, like the Funeral Music for Queen Mary (which is included here) and the opera Dido and Aeneas (which isn't). But much of his best music is scattered around in small bits, residing within genres that are rather odd from today's perspective. Purcell spent much of his short adult life as a theater composer, and his incidental music, for example, is filled with perfect miniatures…
This recording of duets by the great composers of the Restoration is one of the gems of Hyperion’s catalogue. It features the celebrated countertenors James Bowman and Michael Chance at the peak of their powers, and the combination of their two voices with the sympathetic accompaniment of The King’s Consort creates something uniquely glorious.
With this recording, the Purcell Quartet reach the mid-point in their six-part series of chamber music based on La Jolla, and although this CD is devoted to Geminiani, the only work on that tune is, in fact, his concerto grosso arrangement of Corelli's variations for violin (Op. 5 No. 12). In addition, they have chosen the G minor Concerto grosso (distinguished by Geminiani's remarkable concertino viola part, played to good effect by Alan George), two of Geminiani's original solo sonatas (giving Catherine Mackintosh and Elizabeth Wallfisch moments in which to shine) and trio arrangements of two of his violin sonatas.
Alessandro Scarlatti wrote over 600 cantatas, two of which are on this 1987 disc performed by soprano Lynne Dawson and the Purcell Quartet: Correa nel seno amato and Già lusingato appieno. He wrote considerably less keyboard music – and next to nothing compared with the gargantuan achievement of his son Domenico – one of which is on this disc performed by Robert Woolley, the harpsichordist of the Purcell Quartet: the Variations on La Folia. With the chamber cantatas flanking the keyboard variations, this disc is a wonderful program of the elder Scarlatti's art. Though there are some who might argue English soprano Dawson is perhaps too reserved for this repertoire, none would argue that she doesn't have a clear voice and a supple technique. And while there are others who might argue the Purcell Quartet is perhaps too stringent for the repertoire, none would argue they don't play together with consummate ease and they don't accompany Dawson with brilliant mastery. But there are few who would disparage Woolley's blindingly virtuosic and blazingly demonic La Folia Variations.
The new production of Purcell's The Fairy Queen launched in 1995 by the English National Opera (ENO) was received with great enthusiasm by both the public and musical press. This atmospheric production was prepared by David Pountney, Robert Israel created the stage set, Dunya Ramicova was responsible for costume design and Quinny Sacks was responsible for the choreography of the dance roles as well as the numerous breathtaking ballet scenes. Under the musical direction of Nicholas Kok, the English National Orchestra played a baroque music which was as crystal clear as it was expressively infectious. Next to outstanding performers of the dancing roles such as Puck (Simon Rice) and the Indian boy (Arthur Pita), an entire armada of excellent singers was summoned up such as one seldom experiences together on the baroque opera stage. These included Yvonne Kenny as Titania, Thomas Randle as Oberon and Richard Van Allan as King Theseus. Jonathan Best, with his comic portrayal of the drunken poet, was loved by the audience and praised highly by the press, while other singers like Michael Chance, Mary Hegarthy, Janis Kelly, Marc Le Brocq and Christopher Ross all contributed their talents to produce an unusual musical theatre experience that has been masterfully preserved on this DVD.
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