Handel Arias
View record and artist detailsRecord and Artist Details
Composer or Director: George Frideric Handel
Label: EMI
Magazine Review Date: 7/1990
Media Format: CD or Download
Media Runtime: 59
Mastering:
DDD
Catalogue Number: 749179-2

Tracks:
Composition | Artist Credit |
---|---|
Acis and Galatea, Movement: ~ |
George Frideric Handel, Composer
Academy of St Martin in the Fields George Frideric Handel, Composer Kathleen Battle, Soprano Neville Marriner, Conductor |
Giulio Cesare, 'Julius Caesar', Movement: E pur così in un giorno ... Piangerò, la sorte mia |
George Frideric Handel, Composer
Academy of St Martin in the Fields George Frideric Handel, Composer Kathleen Battle, Soprano Neville Marriner, Conductor |
Joshua, Movement: O had I Jubal's lyre |
George Frideric Handel, Composer
Academy of St Martin in the Fields George Frideric Handel, Composer Kathleen Battle, Soprano Neville Marriner, Conductor |
(L')Allegro, il penseroso ed il moderato |
George Frideric Handel, Composer
George Frideric Handel, Composer |
Messiah, Movement: Rejoice greatly, O daughter of Zion |
George Frideric Handel, Composer
Academy of St Martin in the Fields George Frideric Handel, Composer Kathleen Battle, Soprano Neville Marriner, Conductor |
Solomon, Movement: ~ |
George Frideric Handel, Composer
Academy of St Martin in the Fields George Frideric Handel, Composer Kathleen Battle, Soprano Neville Marriner, Conductor |
Alcina, Movement: ~ |
George Frideric Handel, Composer
Academy of St Martin in the Fields George Frideric Handel, Composer Kathleen Battle, Soprano Neville Marriner, Conductor |
Author: Nicholas Anderson
The American soprano, Kathleen Battle, has chosen a delightful anthology of arias from Handel's operas, oratorios and English odes. She takes off with Galatea's aria, ''As when the dove laments her love'' (Acis and Galatea) but mars an otherwise attractive performance by scooping up to her notes in a way that ill-suits Handel's music. The orchestral support is sympathetic though there is a sour piece of solo violin playing. I enjoyed ''Piangero, la sorte mia'', Cleopatra's aria from the opera, Giulio Cesare, rather more. Battle's excellent intonation and sensuous sounding voice gives the piece considerable allure, and the lively middle section comes off well—how much longer must we wait for a convincing account of this great opera? The oratorios Joshua and Messiah are represented by ''Oh! had I Jubal's lyre'' and ''Rejoice greatly'' respectively; and Battle sings two of the Queen of Sheba's arias from the oratorio, Solomon. The remaining pieces come from the ode L'Allegro, il Penseroso ed il Moderato (''Sweet bird, that shun'st the noise of folly''), and the opera, Alcina, one of Handel's finest achievements (''Ah! mio cor!'' and ''Tornami a vagheggiar'').
All in all an attractive programme executed with warmth and considerable virtuosity by Battle; but while the recording captures her voice sympathetically I did not much care for the way in which the orchestra was relegated to a position sometimes amounting to little more than 'backing'. Handel's instrumental and orchestral writing often warrant as much attention as that for the voice, exercising partnership not mere support. But, as I say, Kathleen Battle's singing should win many friends, and if it brings the music, above all that of the operas, to a wider audience, so much the better. Baroque specialists may have reservations about aspects of the performances but the variety and charm of Handel's music are often pleasingly captured. Full texts in the languages for which Handel originally wrote with translations into English, where required, French and German are included.'
All in all an attractive programme executed with warmth and considerable virtuosity by Battle; but while the recording captures her voice sympathetically I did not much care for the way in which the orchestra was relegated to a position sometimes amounting to little more than 'backing'. Handel's instrumental and orchestral writing often warrant as much attention as that for the voice, exercising partnership not mere support. But, as I say, Kathleen Battle's singing should win many friends, and if it brings the music, above all that of the operas, to a wider audience, so much the better. Baroque specialists may have reservations about aspects of the performances but the variety and charm of Handel's music are often pleasingly captured. Full texts in the languages for which Handel originally wrote with translations into English, where required, French and German are included.'
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