Handel: Alexander's Feast

“The veteran Nikolaus Harnoncourt musters his huge forces with continual expressiveness, the choral singing is splendid, especially in the great Chaconne, and among the soloists Gerald Finley stands out for his magnificently eloquent Revenge, Timotheus cries.” The Observer, 16th June 2013

“Arias from two distinguished teams...and King's Choir is still attractively fresh.” BBC Music Magazine, August 2010 ***

“Handel's 1736 setting of Dryden's ode is heard here with two interpolations made in the first performance - a concerto for harp and one for organ. Harry Christophers's feeling for sonority is much in evidence, and the vocal soloists are excellent.” BBC Music Magazine, June 2005 *****

“Alexander's Feast, an ode to St Cecilia by the longdead John Dryden, was set by Handel in 1736 and revised many times. Subtitled 'The Power of Musick', it describes a banquet held by Alexander the Great after his victory over the Persians. The singing and playing of Timotheus inspire Alexander to drunkenness, pity, love and revenge, one after the other. What has this to do with the patron saint of music, you might well ask? The answer comes in a commentary towards the end, when Dryden contrasts Timotheus's pagan skills with the invention of the organ and the celestial connections of 'Divine Cecilia', who 'enlarg'd the former narrow bounds'.
The music is superb, and it's given a superb performance here. The Sixteen (actually 18, with two extra sopranos and an all-male alto line) are a little lightweight in the grander choruses but they sing with precision and unforced tone. Over a swiftly moving ground bass, 'The many rend the skies' goes with a swing; their finest moment, though, is their hushed contemplation of the Persian king lying dead on the field of battle.
The lion's share of the solos goes to Nancy Argenta, whose fresh tones, admirably suited to 'War, he sung, is toil and trouble', are cunningly and effectively veiled for 'He chose a mournful muse', an accompanied recitative in the manner of 'Thy rebuke hath broken his heart'. Ian Partridge is superb in his subtle handling of the words, as he is with his wonderful breath control in 'Happy pair'. Michael George is perfect in 'Revenge, Timotheus cries': hissing snakes, flashing sparkles and all.
The orchestration is a constant delight. In some of the solo numbers Handel uses only violins and continuo; elsewhere he introduces a solo cello, a trumpet obbligato, recorders and horns. Best of all is the creepy middle section of 'Revenge, Timotheus cries', where he conjures up the 'ghastly band' of the Grecian dead with Neapolitan sixth cadences played by the violas and bassoons in octaves. All these opportunities are seized with relish by the Symphony of Harmony and Invention.
In an unsuitable church acoustic, Harry Christophers sets unfailingly suitable tempi. And to add to our delight he includes the concerti detailed above that are integral to the piece.” Gramophone Classical Music Guide, 2010

“Richard Neville-Towle gathers some of Britain's best new talents on this recording – Sophie Bevan, Ed Lyon and William Berger are on dazzling form and there is some superb singing from the chorus. "The many rend the skies with loud applause," they sing. And so they should.” The Observer, 27th February 2011

“The warm, shapely choral singing is in stark contrast to the the Dunedin Consort's ascetic precision...Berger [is] particularly impressive in the B-section of "Revenge, Timotheus cries". Jan Waterfield's harpsichord concerto sets the tone for an exalted yet humane celebration.” The Independent on Sunday

“Energy and vigour are among the common properties radiated by the period instrument players and professional choristers of Richard Neville-Towle's Ludus Baroque...This exuberant performance, intensely focused in its second part, moves and inspires.” Classic FM Magazine, April 2011 ****

“Vivacious youth leaps from this lively CD debut by Richard Neville-Towle’s group...The tenor Ed Lyons’s diction cuts through the resonant church acoustic: every word dances before us. The soprano Sophie Bevan needs a lighter touch, and the chorus greater clarity. But minor flaws fade before the sound of musicians bouncing with joy.” The Times, 5th March 2011 ****

“Sophie Bevan's shining soprano is always a pleasure to hear: the vocal equivalent of a fresh, bright spring morning...Capable of encompassing long-breathed phrases, [Lyon] has a bit of 'beef' in the voice, which serves him well in the more outgoing arias...the 18 voices produce a fine sound, as does the orchestra, well directed by Neville-Towle, who directs a spirited performance.” International Record Review, March 2011

“Orchestral details emerge with pristine clarity – the juddering lower strings as the tenor sings of beating drums in The Praise of Bacchus, or the braying natural horns in the chorus which follows. The libretto is barely necessary, so good is the diction of chorus and soloists...Music is described in the closing chorus as "the greatest blessing". Listen to these discs and dare to disagree.” The Arts Desk, 9th April 2011

“This is a scintillating first commercial recording. The young soloists, Sophie Bevan, Ed Lyon and William Berger, are all first-rate.” Sunday Times, 17th April 2011 ****

“I particularly enjoyed the choruses which show the choir at its full strength. The delivery is excellent, and the treatment of dynamics impressive... lovers of Handel's music shouldn't miss this recording. It has many fine qualities; I have mentioned the choir, but the orchestra is of the same high level...The recording is outstanding: it is crisp and clear, and has great presence.” Johan van Veen, MusicWeb International, 11th April 2011

“Neville-Towle keeps the tone worldly, sensuous and exultant until near the end, when there's a vague but telling sense of sadness, as well as calm when contemplation gradually replaces action. The playing is sharply focused, the choral singing tremendous in its elan and warmth....[William Berger] steals the show with his terrific performance of Revenge Timotheus Cries” The Guardian, 5th May 2011 ****

“Richard Neville-Towle gets beautifully crisp playing from his orchestra: the jolly numbers bounce along nicely but the sombre passages are given their due weight...The chorus sounds young, fresh and enthusiastic.” Gramophone Magazine, June 2011

“The performance is characterised by an austerity of tone that speaks volumes in the closing sections, when worldliness gives way to spirituality...The playing is spare, stylish and beautiful. Listen out, meanwhile, for silver-toned soprano Gerlinde Sämann, new to me, but a real find on this showing.” The Guardian, 11th March 2010

“Neumann's forces respond magnificently. Solo voices have a rare, natural ease. In Alexander's Feast, Simone Kermes's accompanied recitative… is breathtaking; Konstantin Wolff is thrilling in 'Revenge Timotheus cries' and terrifyingly evocative as bassoons conjure up 'a ghastly band [of ghosts]'... The clarity...27 voices, while the orchestra, similarly proportioned, is splendidly taut. In short, this recording is an outstanding contribution to the Handel anniversary celebrations.” BBC Music Magazine, September 2009 *****

“Collegium Cartusianum play with suppleness, unforced strength in extrovert numbers and sensitivity in quieter and more lyrical moments… Simone Kermes's melancholic delivery of the pitiful "He chose a mournful muse" is breathtaking… The Cologne Chamber Choir is excellent: the voices in the opening phrase of "The list'ning crowd" seem to float effortlessly... "Break his bands of sleep asunder" is sensational and the falling cadences evoking "heav'nly harmony" are beautifully balanced during the first chorus of the shorter ode.” Gramophone Magazine, Awards Issue 2009