Handel: Quest’è dunque la fede (from Admeto)

“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 ****

“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 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

“‘It is difficult to pick out a particular highlight, there are so many of them’ (Classic CD) ‘A splendidly enjoyable disc. Kirkby is in top-notch form’ (Hi-Fi News) ‘This CD is appealing on every plane. It’s certainly one of my discs for 1997’ (Gramophone) ‘Right on cue for the bull market in Handel operatic stock, The Rival Queens conquer all before them. A right royal feast!’ (Classic CD) ‘The voices contrast well, and their owners, as well as The Brandenburg Consort, perform this wonderful music with style and an intense sense of affection’ (BBC Music Magazine) ‘Immensely enjoyable’ (Goldberg) ‘A delight … this is singing of brilliance’ (Fanfare, USA) ‘Kirkby’s talent for matching brilliant coloratura with dramatic urgency remains unparalleled … a compelling interpretation of rarely heard masterpieces, this recording is the ideal present for anyone open to Handel’s dramatic compositions” International Record Review