Handel: Furore - Mad Scenes From Operas

George Frideric Handel (Composer), Christophe Rousset (Conductor), Les Talens Lyriques (Orchestra), Joyce DiDonato (Performer) | Format: Audio CD

Product Details

• Performer: Joyce DiDonato
• Orchestra: Les Talens Lyriques
• Conductor: Christophe Rousset
• Composer: George Frideric Handel
• Audio CD (January 13, 2009)
• SPARS Code: DDD
• Number of Discs: 1
• Label: Virgin Classics
• ASIN: B001DZW7SE
• In-Print Editions: MP3 Download
• Average Customer Review: 4.6 out of 5 stars  See all reviews (9 customer reviews)
• Amazon Best Sellers Rank: #15,167 in Music (See Top 100 in Music)
  • #19 in Music > Classical > Opera & Vocal > Historical Periods > Baroque (c.1600-1750)
  • #33 in Music > Classical > Opera & Vocal > Oratorios
  • #38 in Music > Classical > Forms & Genres > Oratorio

Customer Reviews

Most Helpful Customer Reviews

39 of 41 people found the following review helpful:

5.0 out of 5 stars Handel as you've never heard him, January 15, 2009

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libriarsque (Texas) - See all my reviews

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This review is from: Handel: Furore - Mad Scenes From Operas (Audio CD)

It's impossible, first of all, to articulate adequately Ms. DiDonato's talents, vocal, musical, or interpretive. Much praise has already been written, all deserved; she is capable of doing seemingly everything humanly possible with the voice, due to a technique that is based purely on the breath (a thing which is, alas, much rarer these days than should be), and an instinct so sharply attuned to the underlying meaning of the music and text, her voice cannot but follow its cues.

For those who labor under the misapprehension that Baroque music is staid and (yes, I have heard it said) passionless, buy this CD and you'll realize just how wrought with human emotion this music is, if there are artists intelligent and daring enough to plumb its considerable depths. From the searing insanity of Dejaneira to the piercing poignancy of Ariodante's "Scherza, infida", this marvelous collection scans the landscape of heart and mind, painted to stunning effect with the multi-colored palette of Ms. DiDonato's voice, which is matched hue for hue by Les Talens Lyriques, under the insightful leadership of Christophe Rousset.

Though some Baroque specialists would quibble with some of Ms. DiDonato's embellishments, surely no one could deny the absolute conviction with which they are executed, nor their electrifying dramatic effect. As to the suitablity of her voice for Handel, I find it enormously refreshing to hear a full-blooded instrument with a natural, unapologetic vibrato singing this glorious music. That is not to say that Ms. DiDonato avoids straight tone--on the contrary, she uses it often, to mesmerizing effect; but it is just that: an EFFECT, not an entire school of singing.

This CD is sure to be one of every collector's prize possessions. Buy it and revel in Handelian sublimity.

16 of 16 people found the following review helpful:

5.0 out of 5 stars My Choice for Best Recording of 2008, February 12, 2009

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G P Padillo "paolo" (Portland, ME United States) - See all my reviews
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This review is from: Handel: Furore - Mad Scenes From Operas (Audio CD)

Few albums in recent times have I anticipated the arrival of more than Joyce DiDonato's Furore - an album of Handel arias that should dispel the myth of baroque boredom for many. I've had to digest it before reviewing it, wanting to absorb its flavor, take a break and return to see how I felt on repeated hearings before just offering a rave. Having done so, here's the expected rave.

DiDonato is one of those artists who seem to have everything in the world going for her. A unique, sexy look (ever reminding me of the young Bette Midler), great sense of style (remember her Nancy Sinatra get-up as she hosted the Met's HD Orfeo offering.
From Teseo she offers Medea's breathtaking yet oddly constructed "Dolce riposo" that, while a little quicker in tempo than I would have liked, manages still to convey the emotions of the title, the brisker tempo allowing for no singerly indulgences or unduly stretching the vocal line out of proportion. This offers a nice constrast a more rubato delivery of the interior recitative sections, returning to the da capo with a hushed intensity, embellishing the line with varying rates of vibrato and volume, the dispatch of perfect trills and a perfect Handelian line. As much as I love the virtuostic pieces (and boy do I), it is in these quieter, introspective numbers that Handel wows me every time and DiDonato knows exactly how to put these types of arias over.

Following the "Dolce riposo" comes one of those very virtuostic arias - the one, in fact, responsible for the title of this delightful disc.

Recently I've been involved in discussions about historical singers, e.g., Callas and Sutherland and singers capable of fully understanding the text, scratching deeper than its surface and working within the musical framework the composer has laid out, DiDonato makes abundantly clear she is perfectly in tune with this school. The voice is rich with color, like an accomplished jazz singer (and, I imagine, the great singers in Handel's own time) she is unafraid to bend a note's shape and pitch (while landing squarely on it - most of the time) vary the velocity of her vibrato - and when necessary, hold it back entirely. She will spread the vowels of a syllable almost to a level of vulgarity (listen to "Iris, hence away!") that a more prim and proper singer wouldn't dare imagine, yet in so doing, she infuses this very familiar music with an added frisson long missing from even the other outstanding interpretations we've heard over the years.

Her upper middle voice has a naturally rich, fruity quality which she also can color with skill - darkening it one bar and instantly lightening the sound to something resembling sunlight - all of which fits Handel's music like the proverbial glove. I can think of no more perfect example of this than her work in the aria "Moriro ma vendicata" - the first piece in this remarkable recital which requires her to pull out all of the stops.

I'm asking for the moon here, but the only way I can think this album may have been improved is a pipe dream: Yet I'll admit it freely here: Oh how I would have loved a "a multi-track recording of DiDonato singing both parts of the great Cornelia/Sesto duet.

I first fell in love with Miss Donato as Meg in the premiere performances (televised) of Adamo's "Little Women." I (and everyone else) recognized immediately this was a standout talent. It wasn't long before Opera News did a feature on her and the candid, unconventionally pretty young mezzo sounded like one smart cookie. Two years later she took Paris by storm with her Rosina in Colline Serreau's breathtaking "Barbiere" set (in of all places) Moorish Spain, revealing a young artist of supreme depth, innate comedic abilities, musical integrity, stage assuredness and genuine star quality. All of this is in abundance in this recording of Handelian masterpieces. All, you ask? Yes, all. Even the "stage" qualities come off in this recording. Rare is the artist who can sing a recital of arias, yet invoke the sense and spirit of the entire work she's execerpting it from. DiDonato does this, evoking the personality of each character, distilling the essence of their entirety to miniature portraits that reveal each strength of character as well as each flaw. Lorraine Hunt Lieberson had this identical quality, but this is not to compare these two singers who in many other ways are as different as day from night.

Sorge nell `alma mia allows the singer her first genuine "I'm gonna tear the roof right off this place" moments of this recital - and it is, in a word, thrilling.

Another stand out gem, and one of my favorite mezzo arias, is There, in myrtle shades reclined. I've heard this aria sung many times and DiDonato (followed closely by von Otter) takes pride of place in melting my heart and causing me to swoon.

In her delivery of one of Handel's most acclaimed arias, Ariodante's "Scherza infida" DiDonato strikes as nearly a perfect balance between Handelian showmanship and introspective interpretation., as one is likely to hear. While the accompaniment by Christophe Rousset's Les Talens Lyriques is outstanding in every moment of this recital, it is, here, flawless - at complete oneness with the singer, its ebbs and tides, flowing through Handel's music with such delicacy as to be positively gauzelike. Every moment here is one of exquisite beauty.

I cannot ignore what is perhaps a representation of this singer's most remarkable interpretation to date, her Dejanira from Hercules. The speed of the coloratura, the hurling out of sound, the seeming abandonment of all good senses in her approach may (and has) put off some more gentle listeners, but if you can just relax and let go, DiDonato will, take you on a roller coaster journey of the heart and mind offering a frightening and breathtaking look into Dejanira's madness. It is, to be sure, rather an odd way to end a recital - but it is theatrical and thrilling and exactly the type of surprise we should be expecting from the delightful DiDonato.

Highly recommended. Make that VERY high recommended!

10 of 14 people found the following review helpful:

5.0 out of 5 stars Top of the charts, January 21, 2009

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L. Lindsay - See all my reviews
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This review is from: Handel: Furore - Mad Scenes From Operas (Audio CD)

This recording stands out among the best of the best. Ms. DiDonato is absolutely stunning, it is an amazing piece of work that gives me chills. Such a wonderful voice being able to sing such insane women!