Customer Reviews

Bryn Terfel - Handel Arias / Scottish CO, Mackerras

5 star:		(8)
4 star:		(3)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

Since leading roles for bass-baritones in the operas of Handel are very, very rare, it is quite doubtful that we'll soon be seeing operatic super-star BRYN TERFEL in any international theatre performing what he says is a great love of his. This is truly a pity since it is more than a little uncommon to see and hear acting as fine as Terfel's coupled with a voice as rich and expressive as his.

Just a few nights ago, I was watching a television concert from Europe in which Anne Sofie von Otter sang 'Carmen' to Terfel's 'Escamillo' in selections from Bizet's opera. The old war horse 'The Toreador Song' has never sounded this fresh and exciting. Terfel can do what few others in his profession know how to do: he gets into the words as well as the music; he actually plays the character and presents what the composer and librettist might only have dreamed about.

Handel's operas, all of them so difficult in their coloratura passages, are seldom actually acted. One might as well just hear a concert version. But Terfel, as proven in this recording, acts as well as sings. My favorites include arias from JULIUS CAESAR and ALCINA, but every band on this CD is a winner.

Gorgeously conducted by Sir Charles Mackerras, the recording includes arias from the famous oratorios as well as from the operas: JUDAS MACCABAEUS and ALEXANDER'S FEAST are especially beautifully performed. And if you are used to a pallid, rumbling, muffled bass in your annual production of MESSIAH, listen to Terfel. HIGHLY RECOMMENDED.

This CD showcases popular Welsh bass-baritone Bryn Terfel raging, melting, and burning his way through a wonderful variety of Handel arias (although I would have left out the 'Messiah' selections and gone for a few of Handel's 2,000 or so less-recorded songs).

According to Gerald Abraham in "Handel, a Symposium" the heroes that Terfel chose to bring to life in this recording generally had high soprano voices. Tenors and baritones were relegated to subordinate parts, and basses to those of tyrants or sages: "... in modern revivals of Handel's operas it is generally fatal to give [the castrato] parts to tenors or baritones to sing an octave lower."

In the first selection, Terfel takes on the role of Simon, brother of Judas Maccabaeus, which was originally a bass role. Critic Abraham could not object to this, although he might have a problem with the transposition of the arias for Demetrius ("Berenice, Queen of Egypt"), Caesar ("Julius Caesar in Egypt"), and Xerxes ("Xerxes"). If you are a purist, this CD might not be for you, but you'll miss out on some grand singing.

I'm especially fond of Terfel's handling of the slow, reflective arias "Verdi prati, selve amene" from 'Alcina,' and "Ombra mai fu" from 'Xerxes' (often called "Handel's Largo" despite the composer's "larghetto" marking). Here, the singer shuns lachrymose emoting. It is the purity of his tone and choice of dynamics that touch the heart.

"O ruddier than the cherry" from "Acis and Galatea" is robustly sung by the love-sick Polyphemus/Terfel. In spite of the buoyant central rhythm, every word is clearly enunciated. The preceding, accompanied recitative "I rage, I rage, I melt, I burn!" is a masterful, shimmering growl of emotion.

Along with Xerxes's plane tree and Polyphemus's cherries, Terfel returns to an arboreal subject in "Where'er you walk" from Semele. His command of musical and textual nuance is impressive in this tenderly sung aria. The ornamentation by Sir Charles Mackerras enhances rather than detracts from this beautiful love song.

Another highlight of this CD is Terfel's interpretation of "Revenge, revenge, Timotheus cries" from "Alexander's Feast." He snarls through the trumpets with frenzied, dead-on ornamentation. However there are a few unusual hesitations, such as a slight pause between 'Timotheus' and 'cries,' and at first hearing, I didn't care for them. Now they make textual sense to me. His hissing snakes and sparkling eyes are flawlessly emphasized. Each melisma is rhythmically unique and perfectly inflected.

The last three selections from Handel's "Messiah" are unfortunately rather ordinary. "Why do the nations" has a strange repeat, and Terfel seems to be singing it up into his mask which makes it sound two-dimensional. There is also a little too much flattening or 'whitening' of the melismas, plus an occasional unattractive growl. I much prefer Samuel Ramey's deep, seamless coloratura in these three bass arias.

Perhaps Handel's "Messiah" is one of those works that truly separates the bass-baritones from the basses.

Other than the above complaint, Bryn Terfel pays grand homage to the dramatic tension, the text, and the musicality of Handel's arias.

Absolutely beautiful, very enjoyable during the holidays. If your a Handel or Bryn Terfel fan you won't go wrong this selection.

Bryn Terfel's flexible, powerful, and velvety (give me a better adjective for this) voice is well suited to navigating the variety of bombastic and melodramatic arias characterizing Handel's various offerings. These are well punctuated by more tender passages which the composer was equally adept at producing. All in all a most satisfying recording that I seem never to tire of hearing.

Truly a delight. The arrangements (thank you, Sir Charles) are the magic carpet upon which Mr. Terfel's sublime bass takes me back to the 1750's and the magical Musick of the right honorable Mr. Handel. Terfel's Polyphemous is a riot (as well it should be). Cheers to the two of you. The quality of the recording leaves a bit to be desired, though, as it doesn't seem to be equalized throughout.

Bryn Terfel has that voice that can be soft or strong. He sings with a passion you can hear. He is set apart from all the others and you will understand why when you hear him.

I've been a big fan of Handel's ever since I heard Messiah back in the 9th grade. I've listened to and purchased many version of Messiah, other oratorios, and whole slew of his instrumental music. But I've never heard any Handel as well performed and as well recorded and engineered as this album of Handel Arias by Bryn Terfel. And given the leeway singers of Baroque arias are expected to take executing those sixteenth note runs in the music, that kind of perfection is incredibly rare. Everything is executed flawlessly...no extra breaths...or breaking things up....or overly "creative"vocal ornamentation that can ruin these kind of recordings. Mr. Terfel baritone voice, suited for just about any kind of opera singing out there, never overpowers these pieces. He executes these pieces with power and conviction when required, and grace and precision when dealing with more delicate arias. His version of "The Trumpet Shall Sound" from Messiah gives me goosebumps every time I hear it.

But this CD isn't just about a fine vocal performance. The Scottish Chamber Orchestra under the direction of Mackerras performs flawlessly. You can hear detail in the orchestra, but the balance between Mr. Terfel and the orchestra, and within the orchestra is always clean, clear, with every instrument very specifically placed in the mix. Mr. Terfel is closely miked, but the engineer maintains a nice hall reverb without it ever overpowering the performance.

Take a listen for yourself. Highly recommend. Now if we could just could a second volume of these. Or a double album with Renee.

Bryn Terfel is magnificent, and the accompaniment of the Scottish Chamber Orchestra is powerful - too powerful.

Sadly, the orchestra is very much in the foreground, and often Terfel's voice has to fight to come through. The sound makes you believe that Terfel stands behind the orchestra during the recording - which is too bad.

5 stars for the music, 2 stars for the recording quality.

I am presently taking private voice lessons (baritone) and am very interested in how some of the great singers interpret their selections. Thus, I find this collection of Terfel arias very helpful.

BRYN TERFEL exhibe en estas paginas bellisimas de operas y oratorios de Haendel una voz bellisima, aunque algo basta a veces, y algo inexacta de coloratura. No obstante, el gusto conque canta las partes es mas que suficiente pretexto para tener el disco. CHARLES MACKERRAS dirige a la Scotish Chamber Orchestra, que suena divinamente, para redondear un producto altamente recomendable para los amantes del barroco.