Project Harmonia Mundi - Part 6

Originally Released March 1996 Handel’s Ariodante is an opera seria in three acts, based upon an anonymous Italian libretto adapted from Ludovico Ariosto's Orlando Furioso. It was first performed at the Covent Garden Theatre, London in 1735. Like Handel's other works in the opera seria genre, despite initial success, Ariodante fell into oblivion for more than two hundred years. Today, it is considered one of Handel's finest operas. The work's story line follows the painfully complex love entanglements of five characters: pure idealism and raging jealousy, nefarious plots and deceptions, unscrupulous exploitation, and opportunism, hopelessness mounting to the brink of insanity. The plot, as often happens in baroque opera, is riddled with improbabilities, exaggerations, and coincidence, but they matter not at all. It is essentially no more than a framework upon which Handel mounts music of tender passion, rage, delirious joy, hope, resignation - nearly three hours of unrestrained emotional intensity and vocal brilliance. This Gramophone Award winning performance from the 1995 Göttingen Handel Festival features acclaimed mezzo Lorraine Hunt-Lieberson in the title role, accompanied by Nicholas McGegan and the Freiburger Barockorchester.

Giustino is not one of Handel's well-known operas (if such a thing exists) and the quality of the whole conveyed by this exemplary recording from Nicholas McGeegan makes me wonder why. It is dramatically coherent and structurally sound. Perhaps the fairy tale-like elements detract from the seriousness of this opera seria. I am a true admirer of McGeegan's interpretations of Handelian opera and I think this is one of his finest recordings of the ouvre. The one thing I do not particularly care for in this recording is the casting of Dawn Kotoski as the soprano male role of Anastasio. While Ms. Kotoski is undoubtedly a fine soprano, I find her a bit overpowering at times, especially considering the role of Anastasio was originally characterized by a soprano castrato (yes it's true, I've done my research). You'll notice, however, that my one complaint has not caused me to give this recording a less-than-outstanding review–I still give it five stars. This recording was the first Handelian opera I listened to in full and it prepared me for many more of his fine works. It has my top recommendation and I am sure any lover of Handel's music will enjoy it, no matter how many of Handel's operas he has listened to.

When it was first issued, this was billed as the "do it yourself" Messiah, since the presence of alternate versions of many of the arias and choruses allowed you to assemble any of the many different versions that Handel conducted in his lifetime. That gimmick aside, this performance really doesn't stand up against much of the "original instrument" competition–particularly Trevor Pinnock, The Sixteen, or Harmonia Mundi's own later version with William Christie and Les Arts Florissants–perhaps the best of all. –David Hurwitz

George Frideric Handel (1685 - 1759): Susanna. Oratorio. First performed 1749. Complete version including all the music that Handel later deleted. Performed by Lorraine Hunt and Jill Feldman, soprano, Drew Minter, countertenor, Jeffrey Thomas, tenor, David Thomas and William Parker, bass; the U.C. Berkely Chamber Choir; the Philharmonia Baroque Orchestra, San Francisco, conducted by Nicholas McGegan. Recorded live in September, 1989, at the Hertz Hall at the University of California.

Amazon.com essential recording. The failure of Handel's Theodora apparently didn't faze the composer at all. He told the librettist that "The Jews won't come because it is a Christian story, and the ladies won't come because it is a virtuous one!" It's a great line. He also said that the music would sound better in an empty hall, and whether you accept that or not, there's no question that this late work is a masterpiece. It was also Handel's favorite oratorio, and this is quite simply the finest performance of it available. –David Hurwitz

This pastorale has a different plot: Tirsi (shepherd 1), who suspects Clori (nymph) of two-timing him, catches her red-handed with Fileno (shepherd 2). Clori, who can't choose between them, dissembles outrageously; the shepherds, fools for love both, agree to share her. Handel animates this silly plot with vivid music such as Fileno's tender love song with solo arch lute, Clori's florid birdsong aria, Tirsi's fit of jealous fury and Clori's outraged protestation of innocence (with fierce solo violin). The dramatic highlight is Clori's glowing love duet with Fileno followed by her frantic confrontation duet with Tirsi. The sweet-voiced Minter and the spirited (if occasionally shrill) Feldman make fine shepherds; Hunt's Clori combines tonal beauty and agility with so much conviction that she actually seems sympathetic. –Matthew Westphal

Radamisto signed the beginning of the sequence of the most successful operas which Handel wrote in London: infact it is followed by masterpieces like Ottone, Giulio Cesare and Tamerlano. In a word it's the first opera of Handel's maturity. This recording is the second version of the drama written by Handel in December 1720, eight months after the first version. The best moments of Radamisto are concentrated in the second and in the third acts, while the first act isn't exciting. In this recording McGegan is in good form: his direction is brilliant (see also his recording of Ariodante), the Freiburger Barockorchester plays with delicacy and all the singers are fair. The most remarkable ones are Ralf Popken who is Radamisto (listen to him in particular in "Vanne sorella ingrata" and in "Dolce bene di quest'alma"), Juliana Gondek as Zenobia (in the romantic arias "Quando mai spietata sorte"and "Deggio dunque oh Dio lasciarti") and Monika Frimmer in the secondary role of Fraarte (note her skill in "Deh fuggi un traditore" and "S'adopri il braccio armato"). Sometimes the bass Michael Dean (Tiridate) is a little harsh, but in this way he marks the wicked figure of Tiridate. At the end of the opera there is a beautiful quartet ("O cedere o perir"): it's very difficult to find another one among the operas of the first half of the eighteenth century !

This is a wonderful recording of Judas Maccabaeus. I must say, it is so beautiful, that I am compelled to place the some famous Handel Messiah recordings second to it. Judas Maccabaeus is one of Handel's finest oratorios; unlike in the Messiah there are a lot of soprano-alto duets, which keep you captivated. The rendering of `See the conquering hero comes' in this recording is splendid. It avoids the niceties found in other recordings and emphasizes the story line with such vibrant and dramatic effect that you get the feeling you were actually there, welcoming Judas on his return.
The soloists are all brilliant. A great job by Nicholas McGegan. If you've been looking for a beautiful Judas Maccabaeus recording, this is it.

Most of Handel's operas have at least some ravishingly beautiful musical moments, some drearily dry stretches, and a lot of music that sounds as though it was recycled from another of his works–in most cases because it was. Ottone qualifies in all three respects; there's some worthwhile music in this opera, but this score is probably primarily for those already converted to the Handelian oeuvre. Most of the singing in this recording is quite respectable, if on the less robust side, but Drew Minter's light, sweet countertenor makes him utterly unconvincing as a German warrior prince. Nicholas McGegan does his usual fine, thoughtful job of conducting. –Sarah Bryan Miller