Giulio Cesare in Egitto

Armonico Consort return to album on Signum with a collection of Handel arias, performed by leading counter-tenor William Towers. A noted soloist in both opera and oratorio, the programme is taken from roles which Towers has sung across his career in various productions across the globe. Towers writes: “It is the life-affirming, live-giving aspect of Handel that I’m aiming to celebrate. So frequently his operas reveal their most devastatingly beautiful and uplifting music when life is at its darkest. Here the arias shine brightest, here we find Radamisto’s ‘Ombra cara’ and the boundlessly optimistic ‘Dopo l’orrore’, looking out beyond the darkest clouds to the faint glimmer of a dawning hope. This is the uncrushable, indomitable spirit that lies in all of us … We just need to take the time to listen.”

This "fête Baroque" occurred in December 2011 at the Théâtre des Champs Elysées in Paris, marking the tenth anniversary of the ensemble Le Concert d'Astrée under founder and conductor Emmanuelle Haïm. The concert was a benefit for a French cancer research facility, and it attracted a galaxy of guest stars. Le Concert d'Astrée is one of the very best Baroque vocal ensembles, and this release never descends to a low common denominator. Haïm's trademark expressive phrasing is everywhere in evidence, but the biggest attraction is the selection of singers, with several figures from the mainstream showing up alongside established Baroque specialists.

If your ideal vocal recording places the performer next to your seat and your ideal vocal performance has the performer singing directly into your ear, this disc by mezzo-soprano Magdalena Kozená will be just about ideal. No matter what the repertoire and Kozená performs everything from Bach to Gounod to Shostakovich and no matter what the context and Kozená takes on everything from song to opera to oratorio Kozená is right next to the listener, singing straight into his/her ear.

Joan Sutherland first sang the role of Alcina in 1957 and continued to sing it until 1983. The role allows her to display her technical agility, the breath control on long phrases and her stunning trill. It must be admitted that her diction is not clean – but what glorious singing. Teresa Berganza as Ruggiero is Sutherland's equal throughout the entire opera. Her approach is less overtly spectacular but her "Verdi prati" is an object lesson in classic vocalism. With a glorious contralto voice, Monica Sinclair attacks the role of Bradamante with gusto. The three octave scale which concludes her Act 1 aria is not stylistic, but it is exciting. In the shorter roles Mirella Freni and Graziella Sciutti are excellent. Freni was at the beginning of long and glorious career. The male roles are of less importance in this opera but they are very well sung by Luigi Alva and Ezio Flagello.