Handel: Laudate pueri Dominum HWV 237

“A delight this month that relishes in the staggering variety of the great Saxon’s insatiable invention with style and expertise.” Classic FM Magazine, December 2008

“We have come to expect Emma Kirkby to produce her customary wit, articulation and stylistic intelligence at the drop of a hat…With the capable choir of Cantillation and the Orchestra of the Antipodes, Kirkby sounds at ease in nonchalantly navigating some treacherously difficult passagework. It is pleasing to hear some of Bach’s sunniest virtuoso arias alongside Handel’s radiant Laudate pueri…Kirkby sounds like she is having fun again.” David Vickers (Gramophone 01/07)

“Comparison with her 1980s recordings of the Bach, Handel and Vivaldi throw the changes into high relief. Fast passages are a touch more reflective, less carefree and dangerous, though her pitching remains unerring. The sweet naïve clarity that wooed us all is enriched by alternative, more intense colours - her singing is more varied.” BBC Music Magazine, November 2006 *****

“These pieces, written in Handel's early twenties, embody a kind of excitement and freedom, and a richness of ideas, that come from his contact with a different tradition and a sudden realisation that the musical world was larger and less constricted than he had imagined, tucked away in provincial middle and north Germany. You can hear him stretching his musical wings in this music. And it certainly doesn't fail to take off in these very lively performances. The quickish tempos habitually favoured by Marc Minkowski are by no means out of place here. The Saeviattellus, although little recorded, is pretty familiar music, as Handel recycled most of it, notably the brilliant opening number in Apollo e Dafne and the lovely 'O nox dulcis' in Agrippina. This is a solo motet, as too is the Salve regina, notable for the expressive vocal leaps and chromatic writing in the 'Ad te clamamus' and the solo organ and string writing in the 'Eia ergo' that follows.
Laudate pueri, which uses a choir, is another fresh and energetic piece: the choir of the Musiciens du Louvre do their pieces in rousing fashion, and there's some happy oboe playing, as well as fine singing from KoOená, earlier on, in particular in the hugely spirited 'Excelsus super omnes'. The biggest item is the Dixit Dominus, where the choir sings very crisply. The illustrative settings of 'ruinas' tumbling down through the registers, and the 'conquassabit' that follows, are truly exciting; and the long closing chorus is done with due weight at quite a measured pace.
These splendid performances truly capture the spirit of these marvellous pieces.” Gramophone Classical Music Guide, 2010