George Frideric Handel

“This Polish ensemble, little recorded so far, plays them splendidly - 16 technically assured period strings, coloured by harpsichord or organ continuo and a pretty active archlute. The ensemble is intensely expressive, from the stark open-string ending of the No. 6 Largo, through a wall of sound in the Polonaise of No. 3, to the witty fugue in the opening movement of No. 7.” BBC Music Magazine, January 2009 *****

“Gustav Leonhardt's patrician demeanour and Calvinistic refusal to indulge his ego run contrary to the common trend for keyboard players to emulate performing seals. And yet he has the power to transfix an audience, as he did throughout his Wigmore Hall recital, without the need for gratuitous showmanship or wild musical gestures. Austerity and sobriety are the names of his particular performing game, tempered by a compelling mix of passion and commitment to the broad repertoire within his command.” Andrew Stewart, The Independent, 10th January 1996

“Among the scholar-performers who have sparked and led the early music revival, surely none has played a greater part and exerted a more benificent influence on younger musicians and the public than Gustav Leonhardt. Harpsichordist, organist, conductor, teacher, musicologist and editor are all roles in which he has distinguished himself.” Howard Schott, The Musical Times, October 1992

“Koopman re-creates something of the occasion in his colourful interpretation of Handel's orchestration and in his pacing of the work. The expressive and dulcet oboe tone produced by Ku Ebbinge and Michel Henry shines out again and again throughout— In the recitative ''Notte funesta'', Koopman creates a wonderful ensemble timbre with recorders, bass viol and organ, and the delicately poised organ pedal that begins ''Ferma l'ali'' creates a magical atmosphere that lasts to the end of the aria…” Gramophone Magazine (on ‘La Resurrezione’)

“John Eliot Gardiner catches all its brilliance and directs an exhilarating performance, marked by strongly accented, sharply incisive singing from the choir and outstanding solo contributions.” Penguin Guide 3-star (on Dixit Dominus)

“The voices of Rial and Zazzo are engaging on their own and evenly balanced in ensemble… excelling in the…composer's tenderly reflective music such as in the ravishing duet 'Io t'abbraccio' from Rodelinda (1725). Cummings directs all with sensibility and stylistic assurance.” BBC Music Magazine, October 2008 ****

“'Duetti amorosi' is an imaginative and thoughtfully chosen programme of operatic duets (although the singers also get two arias each).
Nothing predictable is included here, except perhaps the two items from Rodelinda, but the lovely performance of 'Ritorna, o cara' and the pathos-laden 'Io t'abbraccio' more than justify their presence. Picking a diverse selection of repertoire that skilfully conveys the expressive and stylistic breath of Handel's writing is certainly one of the often-ignored secrets of planning a successful Handel recital programme, and the performers' enthusiasm for reviving numbers from Arminio (including its fine overture), Teseo, Muzio Scevola, Poro (the gorgeous 'Caro amico amplesso') and Admeto deserves high praise.
Rial and Zazzo sing well, both individually and together: in the duets they are obviously listening sympathetically to each other; they seem to know when to emphasise vocal contrasts or blend closely. Laurence Cummings provides expert musical direction from the harpsichord, ensuring that everything is paced to perfection, and that the musico-dramatic characteristics presented in each piece speak with transparency to the listener; none of these performances would feel out of place in context of their parent works. The policy to dump the texts and translations onto a PDF is detestable.” Gramophone Classical Music Guide, 2010

“In duet or solo, two fine singers impress in a delightfully planned Handel recital. Laurence Cummings provides expert musical direction from the harpsichord, ensuring that everything is paced to perfection…” Gramophone Magazine, Awards Issue 2008

“The aching longing and ecstatic intertwining of soprano and alto (castrato) voices in the sublime duets for Poro (1731) and Cleofide, and for Rodelinda (1725) and Bertarido, are among the era’s most moving “romantic” music. With her bright, pristine soprano, Rial blends perfectly with Zazzo’s plush countertenor. They are delightful in the comical Romilda/Arsamene duet, from Serse (1738), and moving in the yearning farewell of Clizia and Arcane, from Teseo (1713). Unexpected and enjoyable.” Sunday Times, 10th August 2008 ****

“Emma Kirkby, a seasoned Handelian, brings her considerable artistry to bear on some of [Handel's] most bold, moving and exciting music. Occasionally, particularly in the tragic 'Agrippina condotta a morire', one yearns for slightly darker shades than her naturally sunny voice can provide. Even so, here and in 'Notte placida e cheta', 'Un’ alma innamorata' and 'Figlio d’alte speranze', she and the [musicians] of London Baroque relish to the full the dramatic genius destined shortly to take London by storm.” Sunday Times, 24th August 2008 ***

“Emma Kirkby… sings four solo cantatas… These showpieces make immense technical demands… But splendid though such displays are, it is her sense of characterisation which sets her apart. She can 'rejoice, laugh and hope' with palpable rapture (Un' alma innamorata, HWV173), change mood like quicksilver in the great Scena of Agrippina (HWV110) where the queen, condemned to death by her own son, swings schizophrenically from inconsolable despair to furious anger. Outstanding.” BBC Music Magazine, September 2008 *****

“Emma Kirkby… is on superb form. Her interpretative intelligence and attention to words are a given but she can also catch a subtle mood, as in "Quel povero core" from Un' alman innamorata, whose sense of resigned torment is enhanced by a sensitive contribution from the solo violin.” Gramophone Magazine, October 2008

“The largest single legacy of Handel's years in Italy (in his early twenties) were around 100 chamber cantatas, from which Emma Kirkby and London Baroque have picked out four excellent examples from the 30 or so featuring one or two violins alongside the solo voice and continuo. In this they face strong competition from La Risonanza's series with Italian singers on Glossa, but the clash does no damage to either group as both have distinct virtues. For some, of course, the presence of Emma Kirkby will be enough to seal the deal, and indeed she is on superb form. Early on there are a few signs of a lack of her usual instrumental precision; but by the time she is showing off her artless virtuosity in the final aria of Figlio d'alte speranze and striding easily through 'Orrida, oscura', the first aria of the compellingly dramatic Agrippina condottaa morire, all worries have long been banished.
Her interpretative intelligence and attention to words are a given but she can also catch a subtle mood, as in 'Quel povero core' from Un' almainnamorata, whose sense of resigned torment is enhanced by a sensitive contribution from the solo violin. Emanuela Galli captures this kind of intimate emotion even more affectingly in La Risonanza's performances, mind, but with a touch less vocal security.
The recorded sound, as often in London Baroque's recordings for BIS, is strangely resonant and steely. The 'Concerto a quattro' included here is claimed as a Handel work in its German 18th-century source but sounds like nothing of the kind.” Gramophone Classical Music Guide, 2010

“The Italian group's strings play with polish and alertness. Federico Guglielmo leads proceedings expertly from the violin… The famous Hornpipe is splendidly done, with a radiant balance between the pairs of trumpets and horns… and lovely solo fiddle-playing during the middle section. The Bourrée is thrillingly quick. The Country Dance sparkles with conviviality...” Gramophone Magazine, November 2008

“The tradition of dividing the Water Music into three separate suites dates back to the 1950s. The suspicion that Handel envisaged it as one long sequence of movements has informed a couple of fine recordings but this disc by L'Arte dell'Arco is the first such recording to be made since the earliest surviving manuscript copy of the music (dating from 1718) was rediscovered in 2004.
The strings play with polish and alertness.
Federico Guglielmo leads proceedings expertly from the violin; his few solo flourishes are direct yet courtly. The famous Hornpipe is splendidly done, with a radiant balance between the pairs of trumpets and horns (who relish some tasteful ornaments in the da capo), and lovely solo fiddleplaying during the middle section.
Generally these performances are pleasantly contoured, though the continuo team occasionally become intrusive in faster music. However, it is good to hear musicians confident enough to play the Lentement more slowly than has become common. The Bourrée is thrillingly quick. The Country Dance sparkles with conviviality, although the recorder is a little uneven.
The Ouverture from the Music for the RoyalFireworks is given a vibrant and engaging performance.
Guglielmo and his forces achieve the rare feat of ensuring that 'La Réjouissance' is coherently shaped. CPO's translator of the booklet has done a poor job of what seems to have been an interesting note by Guglielmo ('cembalo' is consistently mistranslated as 'cymbals'!) but the disc is warmly recommended.” Gramophone Classical Music Guide, 2010