Dessay handel

il trionfo del tempo e del disinganno

Dessay mostly sang with plaintive beauty. He gets inside the issues the opera tackles by likening Caesar and his Roman conquerors to British imperialists of the late 19th century.

As a young woman, the petite Ms. The CD's finest 11 minutes are those devoted to the aria from Aci: a bird flying about reminds the singer of his own loneliness, and solo oboe and violin are prominent.

He has the agility and charisma the music demands, though it seemed to take him most of the first half to warm up—his voice sounded firm but he did not project fully over the orchestra until after intermission.

Sailing ships, frigates and even dirigibles pass by. So working with the playful costumes designed by Brigitte Reiffenstuel, Mr. If you love rapturous singing in this most lyrical of all Baroque composers, you will have to have this deserved Hall of Fame cantata recording.

Dessay handel

Dumaux strutted and swaggered, physically confident and commanding. The CD's finest 11 minutes are those devoted to the aria from Aci: a bird flying about reminds the singer of his own loneliness, and solo oboe and violin are prominent. He gets inside the issues the opera tackles by likening Caesar and his Roman conquerors to British imperialists of the late 19th century. She is in her element in these scenes, executing maneuvers with a droll comic look and loose physicality. McVicar presents Caesar and his troops as British officers in bright red uniforms, while the Egyptians are arrayed in motley styles: Indian, Moroccan, Asian, Middle Eastern. The voice sits high and light; Dessay sings softly and with remarkable warmth, and her interplay with the two instrumentalists is truly great music making. But the members of the opening-night audience rose to their feet after midnight to give an exuberant ovation to the excellent cast, headed by the countertenor David Daniels in the title role and the coloratura soprano Natalie Dessay as Cleopatra, and the excellent conductor Harry Bicket. Oh Dio! The former, perhaps better known as a bel canto soprano who is the world's finest Zerbinetta, here enters the realm of Baroque music; since surgery for nodes on her vocal chords a while back she has been looking to leave the above-high-C realm and has developed a new richness at the lower end of her voice.

As the story begins, Caesar and his men land in Alexandria. But plot is the least of it in Handel.

Tu del ciel ministro eletto

But there was some audible effort in her breathing and caution in her delivery. To these clueless conquerors, all these exotics are alike. Dessay studied to be a dancer and actress. Perhaps it is because I am not a fervent periodist that other issues seem more pedantic; but it is also a testament to the period movement that we have come so far as to begin to put musical questions above doctrine or even what we believe is shackled to a current concept of musical style and think first of beauty of expression and communicativeness of idiom. Everything came out with a graceful, at times almost languid, ease. She sang with an unusually fluid legato, seeming to wait too long behind the tempo, before uncannily appearing, as if transported, on the next note. In the distance we see the rippling waters of the Mediterranean, created by an old-fashioned wave machine. It was introduced at the Glyndebourne Festival in England in , has played there and elsewhere since then, and is available on DVD. No doubt that Dessay takes some liberties, but the voice is in such great shape and so utterly entrancing that all other concerns fall away, at least for me. Is this conscious? It's hard to tell.

One thing that I always try to think of first and foremost in any performance is how good is the singingand here it is rarified indeed. McVicar presents Caesar and his troops as British officers in bright red uniforms, while the Egyptians are arrayed in motley styles: Indian, Moroccan, Asian, Middle Eastern.

Where on recordings there can be a showy emphasis on downward pointing articulations at the start of phrases, in the overture and throughout the concert the music maintained a steady, horizontal flow, the counterpoint of the continuo and melody meshing easily. Dumaux strutted and swaggered, physically confident and commanding.

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Handel: Cleopatra Arias