Utter, and complete aural joy!, 20 Dec 2000

Those of you reading who were lucky enough to see the Glyndebourne production a couple of years ago with Dawn Upshaw, David Daniels et al, will already know what an emotional work this is, and this recording conveys Handel's musical (and emotional) mastery perfectly.

For your money you get three CDs (79, 60 and 48 mins respectively). The recording is crisp and responsive - the tempi well balanced and the pitch even (in this case A=418Hz).

What of the Cast? Counter-tenors are now big business with the likes of Scholl and Daniels regularly appearing on the World's opera stages, but it is refreshing to hear the excellent (and English) Robin Blaze in this recording. His voice is majestic, florid and emotional all at once, with a light, even temperament (listen to 'The raptur'd soul' or 'Sweet Rose and Lilly').

The soprano Susan Gritton is now a personal favourite of mine and in the title role she not only shines, but is a good pairing for Blaze's Didymus, no more so than in the two utterly rapturous duets at the end parts II and III respectively ('To thee thou glorious son of worth' and 'stream of pleasure ever flowing'). Sue Gritton has power when required but also possesses intelligence and the emotional depth to really make any aria meaningful.

Singers no less accomplished than Gritton and Blaze take the other lead roles. Susan Bickley's Irene is fantastic, and the timbre of her voice a delight to hear - she also gets my vote for 'best ornamentation', with some wonderful moments ('Bane of Virtue' and 'As with rosy steps the morn').

The other two male roles, Valens and Septimius are given excellent performances by the bass Neal Davies and the tenor Paul Agnew respectively. Both these singers convey the music perfectly, with Agnew's lyrical tenor voice standing out especially.

One must not forget either the chorus or the orchestra. The Gabrieli chorus makes a fantastic sound that is both well articulated and intelligent. The counterpoint and fugal quality of Handel's music is delivered with vigour when required and emotion in the more contemplative numbers. The chorus sings beautifully what Handel rated as one of his finest choruses, of the raising of the son of the widow of Nain (He saw the lovely youth) - it is easy to see why!

This recording has everything - a fine cast and chorus supported by an excellent band on period instruments. In short, it is three hours of some of the best music Handel ever wrote, and for that reason alone should grace the shelves of any lover of Handel's exquisite music.

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