Handel
Amadigi, Garsington Opera review – geometries of enchantmentSunday, 27 June 2021
In Handel’s operas (as, indeed, elsewhere in art and life) the worst witch may turn out to have the best character. Without the sorceress Melissa, splendidly full of evil ruses yet endowed with a generous measure of tragic pathos, Amadigi di Gaula... Read more... |
Messiah highlights, English National Opera, BBC Two review – short-cut sorrow and redemptionSunday, 04 April 2021
Well, it wasn’t quite Messiah, but it was a source of joy. In ENO’s end-of-lockdown staging, BBC Two’s transmission of Handel’s resurrection song delivered a scant 54 minutes of music from the Coliseum on Easter Saturday. In contrast, two ancient... Read more... |
Iestyn Davies, Arcangelo, Wigmore Hall review - heavenly Handel as the lights dim againWednesday, 16 December 2020
Just before the doors closed again on live audiences at the Wigmore Hall, Iestyn Davies and members of the Arcangelo ensemble celebrated the private side of a very public composer. The peerless counter-tenor, whose powerfully polished command of... Read more... |
Ariodante, Royal Opera online review – stylish, but confinedMonday, 23 November 2020
“After black and gloomy night, the sun shines all the brighter,” sings hero Ariodante after a life-threatening bout of jealousy nearly scuppers a royal wedding. There’s a snag in Handel’s dramaturgy: all that sunshine in preparation for the nuptials... Read more... |
Classical CDs Weekly: Bach, Handel, PärtSaturday, 11 April 2020
Bach: St Matthew Passion The Choir of King’s College Cambridge, Academy of Ancient Music/Sir Stephen Cleobury (King’s College Cambridge)Bach Collegium Japan/Masaaki Suzuki (BIS)Both Masaaki Suzuki and the late lamented Sir Stephen Cleobury... Read more... |
Susanna, Royal Opera/London Handel Festival review - fitful shiningsThursday, 12 March 2020
That virtue can be fascinating and prayers to a just God dramatic have been proved in riveting productions of two late Handel oratorios, Theodora and Jephtha. Whether Susanna can ever be reclaimed for the stage as powerfully seems unlikely, but this... Read more... |
Acis and Galatea, The Sixteen, Christophers, Cadogan Hall review – pocket-sized pastoral pleasuresWednesday, 12 February 2020
Nymphs and shepherds – go away? In music, as in art or literature, the pastoral fripperies of the Baroque age can feel utterly alien to modern tastes. Those dalliances, seductions and abductions in the Arcadian landscapes of myth may cease to entice... Read more... |
Les Arts Florissants, Christie, Agnew, Barbican review – splendid Baroque knees-upTuesday, 10 December 2019
“How many times have you heard the conductor sing?” asked William Christie after the final number, but before the two encores, of Sunday night’s 40th birthday celebration for his ensemble Les Arts Florissants. Well, lovers of old recordings know... Read more... |
Classical CDs Weekly: Donnacha Dennehy, Handel, StraussSaturday, 16 November 2019
Donnacha Dennehy: The Hunger Alarm Will Sound/Alan Pierson, with Katherine Manley and Iarla Ó Lionáird (Nonesuch)The Great Irish Famine of 1845-1852 resulted in the deaths of one million Irish citizens to starvation and prompted a further... Read more... |
Brockes-Passion, Arcangelo, Cohen, Wigmore Hall review – hybrid HandelWednesday, 09 October 2019
Handel’s Brockes-Passion is a curious piece - sacred but not liturgical, and with a strong influence from opera, though it is a concert work. Solo voices predominate, and the singers assembled at Wigmore Hall were mostly fine. Jonathan Cohen and his... Read more... |
Agrippina, Royal Opera review - carry on up the CampidoglioTuesday, 24 September 2019
It was said of the Venetian audiences randy for the satirical antique of Handel's first great operatic cornucopia in 1709 that "a stranger who should have seen the manner in which they were affected, would have imagined they were all distracted".... Read more... |
Prom 55: Jephtha, SCO & Chorus, Egarr review - shock of the new in sacrificial oratorioSaturday, 31 August 2019
Human sacrifice has a disconcerting and wonderful effect upon great composers, above all when it involves the supremely queasy issue of a father vowing to offer up his child: think of Britten with Abraham and Isaac, Mozart with Idomeneo and Idamante... Read more... |
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