Haydn: Arianna a Naxos, cantata, Hob.XXVIb/2

“Haydn's operas have never attracted the attention they deserve. Alan Curtis's selection of overtures and arias makes an attractive sampler of their merits. Each of the overtures is well characterised by the players of Il Complesso Barocco, who are vivid as an ensemble and individually distinctive. Anna Bonitatibus's solos are appealingly done, with some successful attempts at characterisation...” BBC Music Magazine, February 2009 ***

“Best of all is a gripping and moving account of Arianna a Naxos, which stands comparison with the young Cecilia Bartoli for dramatic delivery and passionate engagement with the music.” Sunday Times, 28th June 2009

“We get a strong sense of Haydn's psychological range, but are spared the lapses in pacing that make his operas dramatically awkward...There's some finely honed playing from Il Complesso Barocco under Alan Curtis, who is also the fortepianist in Arianna a Naxos.” The Guardian, 12th June 2009 ****

“Anna Bonitatibus offers exemplary interpretations throughout, and even renders the apocalyptic prospect of Orlando paladino attractive; but it's the haughtiness of "Ho un tumore in un ginocchio" that is most entertaining, the heroine's bogus sickness suggested by the dainty tunefulness with which she feigns a coughing fit.” The Independent, 29th May 2009 ****

“A captivating, show-stealing Cherubino at Covent Garden, Italian mezzo Anna Bonitatibus quarries arias from Haydn's still rarely aired Eszterháza operas, ranging from a brace of buffo songs for the disguised Vespina in L'infedeltàdelusa, via numbers for the gentle shepherdess Celia and the upwardly mobile Amaranta from La fedeltà premiata, to the fisher-girl Rosina's magnificent, despairing outburst from La veracostanza.
She also throws in two modestly charming 'insertion' arias Haydn composed for Eszterháza revivals of operas by Paisiello and Gazzaniga, and ends with the great keyboard-accompanied cantata Arianna a Naxos that quickly became a favourite in the salons of Vienna and London.
On disc Bonitatibus's quick vibrato, characteristic of singers south of the Alps, may initially faze those accustomed to 'straighter' voices in 18th-century music. Sometimes – as in the opening of Arianna's final aria – she sacrifices a pure legato to intensity of expression. That said, Bonitatibus brings to each of these portraits a rich, flavoursome voice and a flair for characterisation, relishing the sound and sense of the words (an Italian always has a head start in this repertoire). She is splendidly imperious in Alcina's fiery entrance aria (Orlando paladino), amusingly over-the-top in Vespina's consumptive old woman act, and catches every shade of the distraught Rosina's fluctuating emotions.
Alan Curtis is not the most poetic of fortepianists in Arianna, and as conductor sometimes lets rhythms plod in slower numbers. But in the main he encourages lively, characterful playing from his period band, whether in a rip-roaring account of the 'hunting' overture to La fedeltàpremiata (which Haydn recycled as the finale to Symphony No 73) or as eager colluders in Vespina's comic play-acting.” Gramophone Classical Music Guide, 2010

“The Handel and Haydn Society is America's oldest performing arts organization still in existence, having been founded in 1815 - a mere six years after the death of Haydn himself. With this recording of his arias and cantatas for solo soprano the society has done the musical world a great service: this is lovely music lovingly performed. It is almost a commonplace to say that Haydn has been consistently overshadowed by Mozart in the field of opera, but this has also meant the neglect of these quintessentially operatic miniatures. [...] Arleen Auger is superbly dramatic in the cantatas, gauging the emotional temperature perfectly and translating that into her voice through a subtle use of tone-colour and a commendably flexible approach to vibrato: drama without vocal histrionics. [...] I found this a most enjoyable recording, one I won't tire of hearing in a long time."” Gramophone Magazine

“her voice here retains all of the qualities that made it so special, and her artistry remains undiminished...The generosity of the programme mirrors the same quality in DeGaetani's musical nature...Unreservedly recommended.” International Record Review, November 2011

“A winner” Fanfare

“Much subtle musicianship in fine and neglected repertory and I am sure that no one who buys it will be disappointed” Gramophone Magazine

“There can’t be many more delightful ways of spending an hour than in the company of these songs” International Record Review

“Another outstanding song issue from Hyperion” Sunday Times

“Even those weaned on fortepiano-led Haydn will be hard pushed to find fault with this dream team” The Independent on Sunday

“[Kirkby] and Hadjimarkos come into their own..in the garland of English canzonettas which wind their way round the two cantatas. Kirkby has the measure of the salon sentiment and pathos of Haydn's settings of Anne Hunter, wife of his physician; and her bright-eyed, immaculately preserved and warmly communicative voice - equally warmly and closely recorded - makes then entirely engaging.” BBC Music Magazine, June 2011 ***

“Kirkby's intelligent mastery with words and gift for intimate story-telling are tailor-made for these Haydn miniatures” Gramophone Magazine, May 2011

“There are two very striking things about this release, the first being the extraordinary clarity of diction from Emma Kirkby...[the second is] the disarming intimacy of the recorded sound...Both pianist and singer clearly enjoy a close artistic rapport, which adds to the feeling of this recital being more in the nature of a presentation before a small circle of friends than a highly polished recording (which, in actuality, it is)” International Record Review, April 2011