Orianna Fallacci

Royal Rhymes and Rounds is the King's Singers' contribution to the 60th anniversary of Queen Elizabeth II's accession to the throne in 2012. There are ballads, part songs, madrigals, rounds, and anthems written during the reigns of (and some also in honor of) Henry VIII, Elizabeth I, Victoria, and Elizabeth II. The music from the times of Henry and Elizabeth I is especially strong since it was the era of a flowering of English song, which then lay relatively dormant for several centuries. The composers include such luminaries as William Cornysh, Orlando Gibbons, John Dowland, and Thomas Weelkes, as well as Henry himself, whose rousing ballad Pastime with good companie opens the album. It's in this transparent repertoire that the group sounds its absolute best. The singers' immaculate intonation, focused tone quality, and sensitive musicianship are remarkable.

Countertenor Tim Mead leads an all-star cast in the Early Opera Company’s recording of Handel’s Amadigi di Gaula, conducted by Christian Curnyn. The opera was first performed in London in 1715, in the first season under the reign of George I, in the King’s Theatre on the Haymarket. The complex, twisting plot features lovers Amadigi and Orianna, imprisoned by the sorceress Melissa (who wants Amadigi’s love). Amadigi’s ally Dardano turns against his friend when he realises his love for Orianna (with whom Dardano is in love) and sides with Melissa. Her plans are repeatedly foiled, and true love triumphs at the final curtain! Amadigi is considerd the finest of his early London operas in terms of musical sophistication, theatrical pacing, and a perfectly balanced exploration of the interconnected relationships, motivations, and emotional divergences among just four dissimilar yet equally arresting characters.

Countertenor Tim Mead leads an all-star cast in the Early Opera Company’s recording of Handel’s Amadigi di Gaula, conducted by Christian Curnyn. The opera was first performed in London in 1715, in the first season under the reign of George I, in the King’s Theatre on the Haymarket. The complex, twisting plot features lovers Amadigi and Orianna, imprisoned by the sorceress Melissa (who wants Amadigi’s love). Amadigi’s ally Dardano turns against his friend when he realises his love for Orianna (with whom Dardano is in love) and sides with Melissa. Her plans are repeatedly foiled, and true love triumphs at the final curtain! Amadigi is considerd the finest of his early London operas in terms of musical sophistication, theatrical pacing, and a perfectly balanced exploration of the interconnected relationships, motivations, and emotional divergences among just four dissimilar yet equally arresting characters.