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Op 4 No 6 in B flat major was written as a Harp Concerto. In that guise it was first performed on 19 February along with the Organ Concerto Op 4 No 1 at.
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Handel/Lawrence: Concerto in B-flat for Harp

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Handel - Harp Concerto in B flat

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Predictably, Scholl becomes the central focus by his beauty of voice, calm authority, charm and intelligent musicianship.


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Here is a case of astonishing neglect not just gratefully but outstandingly well repaired. Not that Handel himself gave Susanna many opportunities, reviving it only once after the premiere of I t has suffered critical misunderstanding and misrepresentation over the years, but from the evidence of this superb performance, it is a work of deep seriousness, gravely moral in tone.

The long opening scene, est ablishing the marital happiness of Susanna and Joacim, is unfolded with real accomplishment offering music of warmth and consequence as well for Chelsias, Susanna's father. The aria for soprano that closes the scene, "Bending to the throne of glory", strikes me as one of Handel's noblest utterances. Susanna's two suitors are vividly portrayed; the tenor's music is infused with a kind of insinuating sensuality that perfectly captures the character's lasciviousness and the bass's is truly menacing in its directness and graphic expression.

Jeffrey and David Thomas beautifully fill these portraits with a real grasp of the Handelian line and phrase. The aria for Susanna that follows, "If guiltless blood be your intent" is one of those moments where the music is extraordinarily elevating, as too is the chorus that ends the act, after an aria from Joacim which represents with dashing violins his flying home to Susanna's aid. The soprano Lorraine Hunt, as Susanna, offers singing of great expressiveness and she rises to great heights of concentration in her arias at the heart of the work.

Drew Minter's perfectly tuned, gently phrased Joacim, matches her extraordinarily well. Jill Feldman, too, offers some stylish and fresh singing. The California-based Philharmonia Baroque Orchestra, under Nicholas McGegan, produce a warmer, and less scrawny sound than many baroque bands but with welcomely less surface gloss. This is, in short, one of the best performances I have heard of any Handel oratorio, marked by integrity on every plane.

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Above all it establishes that Susanna is a work of stature that I, for one, had never suspected from previous performances or the score. An excellent recording and a first-rate booklet merely add to the pleasure of this outstanding set.

Until relatively recently it remained a rarity, but lately it has come to be recognised as a masterpiece, although quite different in mood and treatment from most of his more familiar oratorios. But all the solo music is finely sung. Her presence at the centre of the tragic drama elevates it as a whole.

Didymus, originally a castrato role very rare in oratorios , is sung by Robin Blaze, whose focused, even-toned countertenor — not a hint of the traditional hoot — serves well: this is fluent singing, with no great depth of tone, but very steady and controlled, with the detail precisely placed. As Septimius, Paul Agnew is in good voice, firm and full in tone, phrasing the music elegantly although the Act 3 air is unconvincing, too bouncy and cheerful for the situation. Ornamentation is appropriate and tasteful, and McCreesh takes the recitative at a natural and relaxed pace. His main contribution, however, is in the well-sprung rhythms he draws from his Gabrieli singers and players, in the way he allows the lines to breathe, and in the sense of purpose and direction he imparts to the bass-line.

Robust cut-and-thrust is lacking but only infrequently. The singers deliver an engaging and fervent account of the moral conflict between the evil Piacere Pleasure and the virtuous guardians Tempo Time and Disinganno Disenchantment over the soul of Bellezza Beauty , who wants to be a disciple of Pleasure but thankfully ends up on the side of the angels just in the nick of time to be saved.

Mezzo Anna Stephany reins her voice in with admirable discipline and there is a nice atmosphere of chamber music-making between her vocal lines and solos by organist Mark Williams. 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.

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He displays and deploys his talent here in a wide range of arias reflective and dramatic. Sandrine Piau and Christophe Rousset have been consistently stylish and -perceptive Handelians together. The playing of Les Talens Lyriques is a model of clarity, vitality and theatrical wit. Rousset and Piau achieve the perfect synthesis of elegance, extravagance and emotion.


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The accompaniments, done by a chamber group under Alan Curtis with much refined timing of detail, add to the pleasures of this truly delectable CD. Alan Curtis clearly welcomed the chance to add this masterpiece to the gradually expanding list of Handel operas he has recorded with Il Complesso Barocco. The acoustical environment of this recording is near-perfect. Curtis, too, knows how to coax the best from his singers. Joyce DiDonato, Maite Beaumont and Karina Gauvin have worked with him before and contribute vividly informed portrayals of the principal characters that stand comparison with the best performances on previous recordings.

Gauvin, her silk-clad Morgana fully as manipulative as Alcina, and Prina, the ever faithful Bradamante, each bring tremendous spirit and sensuousness to their roles. Baker is in superb voice, and for her commanding singing alone the set is more than worth having; but the new version under Nicholas McGegan certainly surpasses it in almost every other way.

This recording, made with the cast from the Gottingen Festival last year largely American singers who have collaborated with McGegan in his Californian performances , seems to me at least the equal of the best he has done before. McGegan directs in his usual spirited style. At any rate, his tempos are wide-ranging — quicker ones move pretty smartly, but the slower ones are given ample time for the import of the music to make itself felt. He does not shirk the tragic grandeur that has a place in this score: listen for example to the opening music of Act 3.

The dances are done with springy rhythms and often with considerable vigour. The recitatives are sung at a good pace but with full dramatic weight. The orchestra, modest in size the strings are only 4. Her virtuoso A major aria in Act 1 is masterly in style and control and so are the rapid semiquaver runs in the aria that opens Act 2. And there is great intensity in her singing of the two minor key arias that begin the final act. As Ginevra, Juliana Gondek, even with a touch more vibrato than might be ideal, sings with a natural musicianship — to be heard in her phrasing and her way of shaping the music — and a wide range of expression: best of all perhaps in the virtuoso aria in Act 1 and the magnificent tragic scene at the end of Act 2, though the poignant D minor farewell to her father in Act 3 is deeply touching too.

Lisa Saffer provides a charming and spirited Dalinda and Nicolas Cavallier a King with suitable warmth and depth of tone. The role of Polinesso, intended for a contralto rather than a castrato, is projected by Jennifer Lane with style and some passion, the latter particularly in the final aria where he looks forward to his triumph.