Handel Rinaldo

This compilation of Handel performances by soprano Suzie LeBlanc, drawn from three previously released recordings made between 2001 and 2003, serves as an excellent introduction to this fine singer and stands on its own as a thoughtfully programmed recital. The opening "Lascia ch'io pianga" from Rinaldo shows her clear voice and (thankfully) unaffected style, the emotion captured just right, the phrasing eloquent, the control giving no hint of effort. And this holds true throughout every selection, whether in the six-movement, recently discovered Gloria in excelsis Deo (her impassioned "Qui tollis" is a highlight) or in the more virtuosic rapid runs, lightning-quick turns, and subtle ornaments of "Da Tempeste" from Giulio Cesare.

Rich, smooth, creamy, and very, very warm, Renée Fleming's soprano pours all over the music of George Frideric Handel like melting chocolate. From the voluptuous Oh sleep, why dost thou leave me through the luxurious Endless pleasure to the opulent Calm thou my soul, Fleming's voice fulfills the heart and soul of Handel's music. Better yet, Fleming sounds like she really means it. Each aria has its own emotional character and each aria has its own musical personality.

The debut solo recording from Danielle de Niese, who became a star overnight after her stunning 'all singing, all dancing' performance as Cleopatra in Handel's Giulio Cesare at Glyndebourne in 2005. Danielle signs a selection of Handel arias from both famous and lesser-known works which showcase perfectly her extraordinary dramatic range and vocal abilities.

Yvonne Kenny has been one of the most impressive of Handel sopranos for so many years now that it has even been possible to take her for granted. The level of tonal beauty, operatic intensity, mastery of divisions, intelligent appreciation and application of ornaments, blending of voices in duets, superior impersonation and acting skills that Kenny has evinced, however, are rare commodities. She first sang Alcina, Sutherland’s famous role, moving on to include Semele and Xerxes, Julius Caesar and Rinaldo amongst others that will be remembered by many. Her performances with ENO are imperishable memories for me.

The ever-increasing popularity of Handel and his contemporaries, and their employment of alto castratos, has encouraged the development of countertenors capable of similar vocal feats to the original interpreters of the heroic roles in these works. Among these the distinguished American, David Daniels, who burst on to the scene here a couple of years ago at Glyndebourne in Theodora, is a leading contender. If I would place Scholl in the category of Deller and Esswood, with their luminous, soft-grained tone, Daniels is closer to the more earthy sound of Bowman, his voice — like Bowman's — astonishingly large in volume.

Le disque qui occupe cette page est à l'image de certains bijoux qui compensent leur faible taille par l'intensité de leur éclat. En effet, si les transcriptions étaient, à une époque, très populaires, elles n'ont que rarement égalé en notoriété les pièces auxquelles elles se rapportaient. Cela dit, quelques compositeurs parmi les plus grands du XVIIIe siècle se sont frottés avec bonheur à cette forme musicale qui, bien que revendiquant la liberté, ne trouve son salut que dans le respect des oeuvres dont elle s'inspire.

Equally known for his live performances and musicological work in establishing new performing practices for early opera, Alan Curtis enjoyed a fruitful career. A scholar, as well as a conductor and harpsichordist, Curtis edited several important works with an appreciation for authenticity, effective performance, and – in the case of opera – stage-worthiness. Several of his best recordings were issued in the 1990s and in the new millennium. Curtis studied first at Michigan State University and attained his bachelor's degree there in 1955.

The Laterna Magica ensemble, involved in discovering the rich potential of Baroque chamber music, continues in this chapter the intentions of one of the greatest composers of the Baroque opera, offering original arrangements of the famous Handel arias, adapted for two recorders and basso continuo. A frequent practice among contemporary composers was to develop matter from existing works: Handel, more than Bach, draws inspiration from his own repertoire, plagiarism, unscrupulous, topics or entire passages, without making major changes to give new life to earlier compositions, perfectly matching them in a new appearance, without any stylistic disorder.

Galina Borisova was born in April 22, 1941, Moscow, Russia The Russian mezzo-soprano (contralto), Honoured artist of the RSFSR, Galina Borisova, studied singing with her mother, the singer Olga Borisova and with Mrs. Petrova at the Conservatoy of Moscow...

Short Biography

In 2009 the music world celebrates the 250th anniversary of Georg Friedich Handel's death.
"Caro Amor" presents on 2 CDs the most beautiful and expressive arias from his most famous operas and oratorios, performed by the best in their field: Ian Bostridge ("Ombra mai fu", "Where'er you walk"), Maria Bayo ("Lascia ch'io pianga"), Vesselina Kasarova ("Caro Amor"), Nuria Rial and Lawrence Zazzo ("Alma mia, dolce ristoro", "Caro amico amplesso"), Angelika Kirchschlager ("Qui d'Amor," "Scherza Infida","Cara Spem"), Marijana Mijanovic ("Qual nave smarrita"), Annette Dasch ("Ah Crudele") and instrumental gems, played by Gabor Boldoczki ("Arrival of the Queen of Sheba"), Il Complesso Barocco, Kammerorchester Basel, etc. The double CD will be released as a high quality 2 CD digipak with a very attractive cover and is the right product for the many fans of beautiful Baroque music.