The conductor of England’s greatest Baroque choir explains why they’d be lynched if they performed Allegri’s Miserere as it was written. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Fiona Campbell’s Handel and Guy Noble’s delightful comic song, complete with a surprise tap-dance solo. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Festival Baroque Australia showcases local and national talent in a rare Handel opera. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Highly traditional British fare, lightly seasoned with the topical.

Fiona Campbell breathes new life into an unfairly neglected Baroque masterpiece.

Countertenor Bejun Mehta enters the increasingly crowded field of Handel recitals and triumphs with this engaging and exquisitely sung selection of arias and duets, many of them composed for the great castrato Senesino.  Dark yet delicate in timbre, Mehta’s voice defies the common criticisms (or myths) surrounding the countertenor voice, displaying not only spectacular agility but a wealth of colour, superb dynamic control, and a steely strength which underpins the sheer loveliness of sound.  But it is Mehta’s vocal acting which lifts this recital to another level. Be it in the exultant coloratura of Sento la gioia, the long, hushed lines of Stille amare or the militant staccati of Fammi combatere, Mehta teams technical brilliance with sensitive expressivity, capturing even the most broadly drawn Baroque emotions with touching sincerity.  Collections of Handel arias are hardly thin on the ground these days – barely a month seems to pass without a few new additions to the discography – but Mehta’s rare combination of virtuosity and expressive acuity makes this recital one of the finest such releases in recent years.

Director Christopher Alden has had a field day, drawing from the visual language of Salvador Dalí, Man Ray and other surrealists of the 1930s.

Cecilia Bartoli has become one of today’s most popular and recognisable classical stars.

Countertenor Andreas Scholl has discovered that returning to his roots has enriched not only his personal life, but his artistic endeavours too. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

They continue to make excellent audio equipment, but for many years they have also made outstanding classical CDs. This release is another, and what a beauty! Handel’s Opus 6 set of concerti grossi is a textbook of string writing, which students have been studying for centuries. They also contain some of Handel’s most engaging music in the genre: elegant, witty, ever-so-stylish exercises for a small string ensemble. We must remember that at the beginning of the 18th century, London was bursting with musical enterprise, and Handel was very much at the centre of it. I don’t think it would be an exaggeration to think of Handel as the Andrew Lloyd Webber of his day. His genius was almost as evident in promotion and what we would now call marketing as it was in his music itself. The great Italian Corelli was well known in cosmopolitan London, and Handel may well have modeled his Opus 6 set of concertos on his work. Handel also composed them in a feverish burst of creativity (in two months of 1739), much as he did with Messiah. This recording by the Avison Ensemble is very sympathetic, with gorgeous sound and very stylish playing. Highly recommended.