Handel: Ombre piante, urne funeste (from Rodelinda)

“Her dizzying bravura in this selection of arias is breathtaking; she’s not afraid to take risks or sacrifice beautiful sound to create dramatic colour and interest when needed. Her limpid, expressive high notes are cushioned by the splendid Lautten Compagney.” Classic FM Magazine, July 2009 *****

“Bell ... is, quite simply, one of the most beautiful things you will ever hear” The Guardian

“Emma Bell gets better and better. This sparkling recording confirms her reputation as one of the most exciting of the younger generation of Handelians. It's the suppleness of the voice that excites, with trills that really trill and scales that effortlessly climb the heights above the stave. Richard Egarr directs a Scottish Chamber Orchestra on its very best behaviour with fine string playing throughout and a magnificently angry trumpet obbligato in the aria from Amadigi.” BBC Music Magazine, October 2005

“Here is a voice of glowing quality - bright yet creamy in texture, weighty yet pure - which is matched by fine musical imagination and a masterly control of technique. …Bell's ability in lyrical arias to float the most exposed high notes with no hint of an upward slide makes for ravishing results.” Gramophone Magazine, December 2005

“Sandrine Piau and Christophe Rousset have been consistently stylish and perceptive Handelians together. Their musical flair and dramatic intelligence is marvellously captured here, and they have chosen arias that explore the full range of Handel's genius.
The experience starts with the spectacular 'Scoglio d'immota fronte', and the subsequent sequence weaves through wonderful contrasts.
It's hard to capture the full dramatic sense and vivid personality of Handel's opera characters in a studio recital, yet they hit the bullseye every time, bringing out Cleopatra's despair, Rodelinda's eloquent grief for her apparently deceased husband, the heartbroken sorceress Melissa in Amadigi di Gaula, Deidamia's distress at losing Achilles to the Trojan war, and Partenope's gorgeous charisma.
Although some da capo sections stray a little too far from Handel's notation for the comfort of scholars, they all enhance the drama of the text, and each cadenza, showing panache and taste, is a breath of fresh air. The playing of Les Talens Lyriques is a model of clarity, vitality and theatrical wit. It was an inspired decision to close the recital with the sublime understatement of 'Son qual stanco', featuring a heartbreaking cello solo by Atsushi Sakaï. Rousset and Piau achieve the perfect synthesis of elegance, extravagance and emotion. This is may be the finest recital of Handel arias ever recorded.” 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