Handel: Cara sposa (from Rinaldo)

“Sheer delight from first bar to last.” BBC Music Magazine

“The ever-increasing popularity of Handel and his contemporaries, and their employment of alto castratos, has encouraged the development of countertenors capable of similar vocal feats to the original interpreters of the heroic roles in these works. Among these David Daniels can certainly be counted as a leading contender. He displays and deploys his talent here in a wide range of arias reflective and dramatic. His amazing technique runs through Tamerlano's virtuoso 'A dispetto' and Bertarido's 'Vivi tiranno!' without a blemish in the sound and with every division in its place yet part of a confidently delivered whole: by and large Daniels's runs and embellishments are smoothly accomplished. In more reflective pieces such as Giulio Cesare's 'Aure, deh, per pietà' (he also tackles Sesto's 'Cara speme' from Giulio Cesare, a particularly liquid, subtle piece of singing), Bertarido's 'Dove sei?' and Ariodante's sad lament, 'Scherza infida', written for the great Senesino, he uses his impeccable Italian to express wide-ranging emotions. Throughout, Roger Norrington and the Orchestra of the Age of Enlightenment give excellent support. The recording is blameless so there's every reason for readers to sample this fine exposition of the countertenor's art.” Gramophone Classical Music Guide, 2010

“Here is a countertenor who, for once, gives an inkling of what the castrato voice did for Handel and his music ... Every track is a winner on this disc. More please.” Sunday Times

“A supreme achievement” Classic CD

“[The recital] begins superbly, leaping in with the magnificent ‘Fammi combattere’, sung here in a truly grand manner – as indeed everything is, for Stutzmann has a commanding style and a tremendous technique, allied to a very powerful contralto. She is an exceptionally rhythmic singer, and produces immense fire in the quick numbers, among them the big outburst from Partenope, ‘Furibondo’, and the first of the two from Floridante, as well as parts of the Mad Scene from Orlando, in which too, she is very successful at conveying, musically, the character’s slipping into madness through her softening of the voice.” Gramophone Magazine, March 1993

“a thrilling recital of plangent and heroic arias” BBC Music Magazine, March 2012 *****

“what we hear on this disc is a still very young singer. Her distinctive dark timbre and fluent technique were already her hallmarks...There is glorious singing throughout the recital and Roy Goodman draws vivacious and stylish playing from the excellent Hanover Band. It is great to have this disc available again. Handel lovers should place their orders at once.” MusicWeb International, May 2012

“Larmore's gloriously long phrasing, and orchestral playing whose broad tempos and style seem trapped in the 1960s, characterise this selection of favourite arias by Handel and Mozart” BBC Music Magazine, December 2011 ***

“…Andreas Scholl… has developed the confidence and showmanship of a seasoned dramatic artist. Scholl's collaboration with Accademia Bizantina is proving to be a fruitful one which has breathed life into some of the forgotten delights of Baroque music. Ottavio Dantone coaxes some thrilling playing from the ensemble, combining refined lyricism with flamboyant virtuosity in true Italian style.” BBC Music Magazine, September 2005 ****

“Scholl sings this stunningly, the reams of coloratura dazzlingly even yet never mechanical, and delivered on seemingly inexhaustible reserves of breath. …it is the slower, soulful numbers that remain longest in the memory, above all 'Cara Sposa' and the scenas from Rodelinda and Giulio Cesare. The grace and intensity of the singing are matched by vivid accompaniments from Ottavio Dantone's period band, and caught in a sympathetic acoustic. Enthusiastically recommended.” Gramophone Magazine, Awards Issue 2005