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There's a lot of action in early music these days, and everybody wants a piece of it. Spanish soprano
María Bayo, clearly no specialist in the field, has now put in her two cents with this splashily produced recording of celebrated arias and unfamiliar cantatas, backed by zesty continuo work from
Skip Sempé and the French period-instrument group
Capriccio Stravagante. What emerges right away from their accounts of arias from
Giulio Cesare,
Rinaldo, and
Alcina is the vigorous, manly way in which Handel wrote opera. Elevated his style may have been, but it was never dull. Bayo understands that and brings lots of personality to her interpretations. It's almost enough to compensate for the lack of polish and persuasiveness one finds at times in her execution... almost, but not quite. As pretty as her vocalizing may sound, her diction can be rather soft, her intonation spotty, and her expression closer to crooning than singing. There is much that is lovely, but one is left feeling that this production is more about María Bayo than Handel. That's OK, especially since it brings us one real rarity, the Spanish-language cantata
No se emendara jamas. The recorded sound is excellent, with Bayo getting all the benefit of the church acoustic in which the sessions took place.
--Ted Libbey