Queen of Baroque

HENRY PURCELL'S chamber opera, "Dido and Aeneas," is plentifully represented on disk, but Nicholas McGegan's new recording, with the Philharmonia Baroque and the Choir of Clare College, Cambridge is the freshest and most compelling since Andrew Parrott's magnificent account of 1981 (on Chandos). Mr. McGegan's soloists – Lorraine Hunt as Dido, Lisa Saffer as Belinda and Michael Dean as Aeneas – work wonders with the concise characterizations provided by Purcell and his librettist, Nahum Tate.

The critically acclaimed Benedictines of Mary, who have received accolades from USA Today, NPR, ABC’s Good Morning America and beyond, now return with their latest release, Lent at Ephesus. This compilation of poignant chants, intricate harmonies and rousing hymns of glory and redemption includes: “O Sacred Head Surrounded,” made famous by Bach’s oratorios, “All Glory Laud and Honor,” the well known “Adoramus Te Christe” and the entrancing “Improperia” from the liturgy of Good Friday. Three original pieces are also featured among the generous 23 tracks. Let the vibrant purity of their monastic sound peacefully escort you through the penitential season of Lent.

In 'The Fairy Queen,' two artistic geniuses met. The scenario is an adaptation of William Shakespeare's A Midsummer Night's Dream; the music is by Henry Purcell, the greatest English composer of his day. The result is one of the first great operas, a dazzling display of music and emotion that has lost none of its power since its premiere in 1692. Much of the music has come to have a life beyond the opera itself: songs such as "The Plaint," "Thrice Happy Lovers" and "Hark! The Echoing air" now regularly grace the concert hall stage, a delight for singers and audiences alike.

Nicholas McGegan has been called a “Handel master” by The San Francisco Chronicle and is considered a foremost Handel interpreter throughout the world. So who better to present the rarely performed Joseph and his Brethren than Nicholas McGegan and Philharmonia Baroque Orchestra & Chorale? Handel’s unfairly neglected—yet splendid—oratorio depicts the grandeur of Pharaoh’s court in an intriguing plot of familial conflict and mistaken identity. With a cast of favorites including Diana Moore and Nicholas Phan, Nicholas McGegan and his historically informed Orchestra and Chorale present a lively studio recording of the program that delighted audiences and critics alike.

Baroque Masterpieces - collection of Baroque music in the best performance in the company Sony BMG DHM Artenova. One of the best collections of Baroque music! The greatest works - the legendary performance! Baroque music is a style of European classical music in the period from about 1600 to 1750. The Baroque era follows the Renaissance and the Classical period precedes. The main in this music was an expression of emotions. Baroque music - this violence and ecstasy, in contrast to the confidence and independence of the Renaissance.

For decades there has been only one recording of Admeto available: a quite splendid performance from 1977 (Virgin Records 5613692) directed by Alan Curtis with Il complesso barocco. One of the first baroque operas to be recorded with original instruments, it reflects the best of the historical performance movement. It is thus with considerable anticipation and curiosity that one approaches this new release of Handel’s Admeto, sung in English (to a fine translation by Geoffrey Dunn), directed by Sir Anthony Lewis, and recorded just nine years earlier in 1968. The cast for this recording is no less remarkable. Dame Janet Baker plays the self-sacrificing Alcestis; Admetus is sung elegantly and expressively by Maureen Lehane; Sheila Armstong is a brilliant and stylish Antigona, and the mezzo soprano Margaret Lensky provides a touching portrayal of the lovesick Thrasymedes.