Tracia

This is a phenomenal opera recording. Everyone is wonderful in their roles, especially Kathleen Battle and Anne Murray, who makes a heart-rending Cherubino.
Figaro is truly a special opera, perhaps the best yet written (and that will ever be written). In my opinion, this is the best you could purchase in the way of recordings.

At the end of the 1990s, the recordings of Gabriel Garrido represented an important landmark in the interpretation of Monteverdian opera. What attracted one’s attention straightaway in his versions were the brilliance and the hedonism of the actual recording itself. Following the precepts noted by the theorist Agostino Agazzari (a contemporary of Monteverdi) concerning continuo realization, Garrido involved not only the typical instruments which can play contrapuntally (keyboard, organ, archlute, harp, etc) but those with melodic capabilities as well. The resulting sound was opulent but never ornamental; and from it the dramatic rhythm flowed in a series of subtle ways. Reinforcing the instrumental complement was never done to the detriment of vocal concerns, which continued to have a leading role. It was precisely with the voices where Garrido set himself apart from his predecessors. By deciding to surround himself with Latin voices (Italian, French, Spanish, Argentinian…) he endowed his Monteverdi with warm, rounded and sensual vocal colours.

Radamisto (HWV 12) is an opera in three acts by George Frideric Handel. It was Handel's first opera for the Royal Academy of Music and was first performed at the King's Theatre, London on 27 April 1720 and was judged to be a success, resulting in 10 further performances...

The performance of Radamisto is notable for an array of vocal talent headed by Janet Baker. Every name is familiar and admired. The ECO was a vibrant presence in the Handel operatic and oratorio market at this time and Norrington at the helm ensures that period practices are helpfully integrated into the fabric of a modern instrument performance – recitatives for instance, once the bane of some 1960s and 70s performances, move fluidly and intelligently, highly responsive to textual meaning and dramatic implications. Note Act I’s Reina, infausto avviso when Tigrane and Polissena’s recitative embodies fine pacing, telling rubato, and appropriately coloured accompaniment. Some cuts though were clearly necessary to accommodate the length of the production.

Joyce Di Donato and Maite Beaumont are outstanding as the devoted couple tormented by Tiridate’s abuse of power. Their flexible and agile voices are ideally displayed in the opening scenes of Act 2 – Beaumont’s sublime ‘Quando mai’ followed by Di Donato’s powerful ‘Ombra cara’. Patrizia Ciofi is suited to the moods of the Tiridate’s long-suffering wife. Dominique Labelle is the most rounded and ideally equipped Handel soprano in the cast: the music effortlessly trips off her tongue in ‘Mirerò quel vago volto’…

Mozarts "Le nozze di Figaro" ist nicht nur eine der populärsten Opern überhaupt, sondern auch eine der besonders häufig eingespielten. Die Gesamtaufnahme unter Muti aus dem Jahre 1986 mit den Wiener Philharmonikern gehört nach wie vor zu den allerbesten. Auch wenn der Orchesterklang natürlich nicht die Frische und Durchsichtigkeit der von der historischen Aufführungspraxis geprägten Einspielungen besitzt, geht es hier höchst lebendig zu. Die Wiener Philharmoniker erweisen sich auch in diesem Fall als wunderbar mozart-erfahren, und für den mit ihnen bestens vertrauten Riccardo Muti gilt das ebenso. Vor allem aber ist das Solistenensemble von einer Qualität, dass es einfach eine Freude ist.

This recording of Monteverdi's retelling of the Orpheus legend may not be as fine overall as John Eliot Gardiner's, but it has much to recommend it. Nigel Rogers was the first great modern Monteverdi tenor: he made this record after his prime, but his virtuoso passage-work and stylish ornaments should be required listening for every student of the role. The cast, chorus, and orchestra give solid, if occasionally reserved, performances (though Guillemette Laurens is a shrill Messenger). The best singing of the entire record is (perhaps unfortunately) at the beginning: Emma Kirkby's sweet voice, imaginative embellishment, and eloquent delivery as Music result in absolutely the best rendition of the Prologue on record.