Customer Reviews

Handel: Ariodante (Highlights)

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

 

 

The overall effect of this interpretation of Ariodante by McGegan is one of elegance, refinement and emotional intensity that flows without being pushed and touches the soul with its singing without being overcontrolled and calculated. This is the main difference between this version and the Minkowski version which has many great moments of lovely singing which surpass the McGegan soloists often, but which is sometimes rushed with overcalculated and overly controlled singing on Otter's part which tarnishes the interpretation. Otter seems not to be really immersed in the part whereas Hunt is. Unforunately the complete recording of this McGegan interpretation is out of print, so get the highlights (this edition)and wait for the re-issue of the complete version.

On first listening I was beginning to think that this highlights recording was a little inferior to the great Alan Curtis recordings that I have been wallowing in for the past several days, but then I got to the first bass aria by Nicolas Cavallier, and I had to suspend my opinion. Freiburger Barockorchester is certainly one of the finest baroque ensembles I know, and I have nothing but the greatest respect for all of their recordings. And McGegan is a great Handel conductor, if not quite the equal of Curtis. Moreover, Ariodante is one of the greatest of Handel's many great operas. The soloists on this recording are mostly unfamiliar to me, but they are all first rate. And Lorraine really comes into her own when it gets to aria number 5 on the disk (even if one hardly recognizes it as Lorraine). By the same token, when it came to this opera's most famous aria, Scherza infida, I was totally captivated, but I didn't realize it was Lorraine until I looked. I have not heard the Minkowski recording, but my experience of his other recordings suggests that there may be a lot of dramatic and musical excitement in his version, compared to the lyrical quality of this recording -- but of course I must hear it before I can compare. At any rate, this recording is of the very highest quality throughout in terms of the period-instrument orchestral playing, and it is peppered with unforgettable performances by the soloists. I give it four stars because it does not quite equal Curtis's Alcina and several other of his Handel opera recordings, but who is complaining? There is a bit of a different style here, due to the combination of McGegan, the Freiburger Barockorchester, and Lieberson, so any lover of Handel's music will want to have it. And they will treasure it for a long time, I might add, especially considering that it is one of a limited number of Lorraine's recordings of Handel opera music, and she unfortunately got called to be with the Lord a lot earlier than she should have been. Lorraine, we love you! Thanks for leaving your soul with us on these recordings!

My favorite Handel opera CD - absolutely beautiful - never tire of listening to it - highlights, no recitatives.