Opera
CD and Other Review

Review: Handel: Partenope (Il Pomo d’Oro/Minasi)

Handel’s Partenope is one of those inexplicable rarities. A tuneful, light romance, it has everything that one could want from a Baroque opera – love, intrigue, cross-dressing… Back in Handel’s time, however, the opera claque had it in for the piece. “Senesino put me in a sweat in telling me that Parthenope was likely to be on the stage, for it is the very worst book (excepting one) that I ever read in my whole life,” sniped the rival Academy’s purse-lipped Italian agent Owen Swiny. Poppycock, said Edward J Dent who described it in 1959 as “perhaps the best libretto that Handel had ever set,”likening it to Shakespeare no less. As always, the truth lies somewhere in-between. A tale of love, jealousy and betrayal, the plot revolves around the un-historical titular Queen of what would become Naples and her three suitors. Arsace, Prince of Corinth is the front runner, but when Rosmira, his former betrothed arrives disguised as a knight, it throws the field wide open. Arsace is forced to dissemble rather than admit his falsehood, and Partenope’s affections are diverted towards Armindo, the timid Prince of Rhodes. After Arsace forces Rosmira to reveal her identity… Continue reading Get unlimited…

March 23, 2016
Vocal & Choral
CD and Other Review

Review: Handel: Heroes from the Shadows (Stutzmann)

Nathalie Stutzmann’s new disc Heroes in the Shadows is an impressive demonstration of this artist’s multitude of musical talents, as she takes centre stage both as conductor and contralto soloist. The singer possesses a handsome contralto voice and demonstrates superb control over her instrument. Her fantastic coloratura technique is shown in the faster, flamboyant arias, most notably on the opening Dover giustizia, amor from Ariodante. Her musicality is laid bare during Non so se sia la speme from Serse, where she demonstrates instinctive understanding for colour and phrasing. She often reduces her vibrato during points of harmonic tension, which serves to highlight the drama in the ensuing resolutions. Despite her virtuosity, Stutzmann never overdoes vocal pyrotechnics during da capo sections, preferring to subtly augment the vocal line with occasional passing tones and trills. Philippe Jaroussky was a delightful choice for guest artist, and sings the duet Son nata a lagrimar from Giulio Cesare. His light, clean countertenor provides a balance for Stutzmann’s meatier tone. The orchestra, Orfeo 55, play with a bristling energy throughout. Cello soloist Patrick Langot, is to be commended for his delicate solo during Son… Continue reading Get unlimited digital access from $4 per month Subscribe Already…

April 25, 2015
Uncategorised
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Why Handel’s Messiah is officially awesome (even when you are ten)

We do Handel’s Messiah every Good Friday. I’ve sung it two times so far and it doesn’t get any easier. I have to get up at 6.20am Tuesdays to Fridays for rehearsal every week but at Easter and Christmas there are extra practices including today at 7.45 am and then again from 4.15 til 8.30. And it’s our first day of “holidays”!! The other day we finished at 9.30 at night and then had an early morning session! Not that I’m complaining (much). Messiah is an awesome piece of music and it’s so great to hear all those instruments in the cathedral. The trumpets and drums are really loud. Sometimes the choir has extra people in it (parents and members of the church) and we can sound really loud too. Choral music sounds extra good at St Andrews because it bounces off all the sandstone walls and columns. Also in the solos you get to look around at all the beautiful stained glass windows and stuff and imagine you’re back in the olden days. My friends who sing some of the solos are amazing – they have even performed for Opera Australia and in The Lion King. Sometimes, after the…

April 2, 2015