Soprano Lucy Crowe joins The English Concert led by Harry Bicket in this dazzling programme of Handel arias and cantatas dating from his 1706-10 sojourn in Italy, where he was affectionately dubbed ‘the dear Saxon’. 2nd in the 2005 Kathleen Ferrier and a Wigmore Young Artist, Lucy Crowe made her debuts with Scottish Opera as Sophie in 'Der Rosenkavalier' and ENO as Poppea in 'Agrippina', both to great critical acclaim.
Other opera engagements include Susanna for Opera North, Drusilla in 'The Coronation of Poppea' for English National Opera and Nanetta in Verdi's 'Falstaff' for Scottish Opera. She made her debut at Covent Garden as Belinda in 'Dido and Aeneas' in 2009 and in the same year Sophie in 'Der Rosenkavalier', a role subsequently taken to the Bavarian State opera, and the Deutsche Oper, Berlin.
This year she made her US opera debut at the Chicago Lyric Opera, and 'The Fairy Queen' with William Christie at Glyndebourne.
George Frideric Handel: Armida Abbandonata, HWV 105
Accompagnato "Dietro l'orme fugaci" (Armida)
Aria "Ah! crudele, e pur ten vai" (Armida)
Recit. "Per te mi struggo, infido" (Armida)
Accompagnato "O voi, dell'inconstante" (Armida)
Aria "Venti, fermate, si" (Armida)
Recit. "Ma che parlo, che dico?" (Armida)
Aria "In tanti affanni miei" (Armida)
George Frideric Handel: Delirio Amoroso, HWV 99
George Frideric Handel: Il Trionfo del Tempo e del Disinganno, HWV 46a
Part I, Aria "Lascia la spina" (Piacere)
George Frideric Handel: Salve Regina, HWV 241
"Salve Regina, mater misericordiae"
"Ad te clamamus"
"Eia ergo, avvocata nostra"
"O clemens, o pia, o dulcis"
George Frideric Handel: La Resurrezione, HWV 47
Part I, Scene 1, Aria "Disserratevi, o porte d'Averno" (Angelo)
George Frideric Handel: Tu fedel? tu costante?, HWV 171
George Frideric Handel: Alpestre monte, HWV 81
Accompagnato "Alpestre monte e solitaria selva"
Aria "Io so ben ch'il vostro orrore"
Recit. "Quindi men vengo a voi"
Aria "Almen dopo il fato mio"
George Frideric Handel: Sonata a 5, HWV 288
George Frideric Handel: Clori, Tirsi e Fileno, HWV 96
Part II, Recit. "Tirsi, mio caro" (Clori)
Part II, Aria "Barbaro, tu non credi" (Clori)
George Frideric Handel: Aminta e Fillide, HWV 83
Aria "Se vago rio" (Aminta)
“there is a marvellous flamboyance to these youthful works...Crowe is fully equal to their demands, showing an imaginative sensitivity to Handel's melodic shapes, even if a few low notes take her beyond her best range. She's alert, too, to the music's harmonic implications...Bicket proves an astute accompaniment [sic], allowing Crowe all the time she needs to turn corners...The English Concert make a fine showing, their trumpets resplendent”
4th December 2011
“She has added luscious chest tones to her bright soprano in recent seasons, and consistently delights in Handel’s gloriously youthful music, which includes an early variant of the famous aria from Rinaldo, Lascia ch’io pianga. Bicket’s English Concert supplies luxury, stylish accompaniments.”
“With her vernal light lyric soprano, grace of line and vivid response to mood, Lucy Crowe proves well-nigh ideal in this conspectus of music from Handel's Italian years...Crowe's delectable singing is complemented by fresh, rhythmically buoyant and, where needed, virtuoso playing from the English Concert, who on their own give sparkling performances of three instrumental numbers from [Handel's] astonishingly fertile Italian sojourn.”
16th December 2011
“Crowe follows the young composer’s flights with musical and emotional fidelity, in tones from tender to sharply penetrating. She uses her voice with quasi-instrumental freedom, but also with the kind of micro-inflection that the voice can make so much more potent and heart-piercing than any instrument. Harry Bicket and the players of the English Concert are hand-in-glove partners to the vocal wizardry.”
“With this recital, Crowe cements her star status in the Baroque world. Her technique is dazzling (hearing her diminuendo and crescendo on a high A in a trumpet-and-drums aria from La Resurrezione is a joy in itself), her voice is pure and fresh, and she's a natural communicator...this is a fascinating and beautifully performed portrait of a genius composer flexing his wings.”