Handel: Il Trionfo del Tempo e del Disinganno, HWV46a

“This new recording from Alessandro de Marchi and his lively Italian period band faces strong competition from Rinaldo Alessandrini (Naïve) and Emmanuelle Haïm (Virgin)...But de Marchi's crisp, surely-paced direction has none of his rivals' occasional tendency to exaggeration and (in Haïm's case) indulgence...With her pure, pellucid timbre and acute response to the text, Roberta Invernizzi eloquently limns Beauty's journey from blithe, carpe diem heedlessness to the grave simplicity of her final prayer. As Pleasure, mezzo Kate Aldrich is equally good in seductive mode and hurling out splenetic coloratura. Martin Oro's distinctive, slightly feminine countertenor makes its mark as Enlightenment; and if Jörg Dürmüller's tenor has a touch of grittiness, he matches his colleagues in dramatic intelligence.” The Telegraph, 24th May 2008

“While this zippy recording falters at first - Marchi rushes his period Academia Montis Regalis rather sloppily through the dizzying opening - there is much accomplished, responsive playing and the tempo is always smart. Elsewhere, Roberta Invernizzi's luscious-voiced Belleza is the undisputed star, impressive in her many fiendish arias.” The Times, 17th May 2008 ****

“When Marc Minkowski made the first period-instrument recording of Handel’s Roman oratorio, he had the field to himself. Nowadays, the competition is stiffer. De Marchi’s soloists can’t match Emmanuelle Haïm’s (Virgin), but Roberta Invernizzi (Beauty), Kate Aldrich (Pleasure), Martin Oro (Enlightenment) and Jörg Dürmüller (Time) are all stylish Handelians who give much pleasure.” Sunday Times, 25th May 2008 ****

“Invernizzi's alluring voice is fluent in challenging virtuosity but sweetly penitent as she rejects Aldrich's somewhat assertive 'Pleasure'. Oro's 'Enlightenment' is powerful, focused and subtle… Ornamentation and improvisation is highly stylish throughout, and orchestral support polished despite some scrambling tempos. Altogether thoroughly enjoyable.” BBC Music Magazine, June 2008 ****

“Handel’s first oratorio … is also his most exquisite. ‘The Triumph of Time and Dis-Illusion’ … bursts with youthful vitality and virtuosity as it blends a moral-religious allegory with some astute early psychology … Alessandro De Marchi energises his Academia Montis Regalis and some fine soloists into the perfect blend of Baroque dynamism and ethereal beauty” The Observer

“Beauty's final aria (sung by Natalie Dessay) is unconventionally slow and intensely moving, accompanied by obbligato violin possibly intended for Corelli who may have led the first performance. Haïm is generally more elegant, though no less exciting, while the... sound is excellent. Technically superb, reassuringly stylish, this is an outstanding performance of Handel at the height of his powers.” BBC Music Magazine, May 2007 *****

“Emmanuelle Haïm performed the work at the Barbican in London, in March 2005. The cast, apart from Natalie Dessay, was identical to the one on the disc. “Emmanuelle Haïm's performance with her ensemble Le Concert d'Astrée was a thing of wonder: at once profound, sensual, witty and immaculate. The singing was phenomenal. A gorgeous evening, every second of it.” The Guardian

“Curnyn's choice of tempi and his measured use of embellishment allow Handel's glorious score to speak for itself...Lucy Crowe is in thrilling form as Beauty; Andrew Staples delights as Tempo; rich-toned Hilary Summers is authoritative as Disinganno and Anna Stephany, as Piacere, brings a special warmth to the signature aria "Lascia la spina".” The Observer, 16th January 2011

“Vivaciously detailed yet anchored to an even heartbeat, Christian Curnyn's performance with the EOC shows just how rich the sound of a small orchestra can be. If Lucy Crowe's Bellezza has the finest aria ("Tu del Ciel ministro..."), Anna Stephany's elegant Piacere, Hilary Summer's coppery Disinganno and Andrew Staples' bluff Tempo lend stylish support” The Independent on Sunday, 6th February 2011

“it is Crowe who takes the vocal laurels here and would be my main reason for recommending the set. Each of her arias is a highlight” International Record Review, March 2011

“Curnyn and his lithe ensemble make the most of the often sensual instrumental colouring.” Sunday Times, 6th March 2011 ***

“[Crowe is] breathtaking in pyrotechnic displays of virtuosity as she dismisses the threatening ravages of Time. She's ideally matched duetting with Anna Stephany as Piacere (Pleasure), and accompanied by some of the best Baroque oboe-playing I've heard. Hilary Summers as Enlightenment is a remarkable contralto. An outstanding achievement.” BBC Music Magazine, April 2011 *****

“throughout the concert the string-playing is immaculate...Anna Stephany reins her voice in with admirable discipline and there is a nice atmosphere of chamber music-making between her vocal lines and solos by organist Mark Williams...Crowe's animated coloratura is executed with precision and refinement, her embellishments strik[ing] the ideal balance between unpredictability and fitting the harmony naturally.” Gramophone Magazine, May 2011

“Minkowski, among the liveliest of period-performance specialists, brings out the inventiveness, helped by an excellent cast… these include Della Jones as Medea, Eirian James in the castrato role of Teseo, Julia Gooding as Agilea and characterful counter-tenors Derek Lee Ragin and Jeffrey Gall as Egeo and Arcane” Penguin Guide ***