wed 17/10/2018

Handel

Classical CDs Weekly: Handel, William Howard, Professor Chill

Handel: Works for Keyboard Philippe Grisvard (harpsichord) (Audax)Mention Handel's keyboard output and most folks (including saps like me) will think of his eight imposing Suites… and that's about it. Which is why harpsichordist Philippe Grisvard’s...

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Solomon, Royal Opera review - an awkward compromise of a performance

There was no synopsis in the programme for the Royal Opera’s concert performance of Handel’s Solomon. Maybe that was an oversight, but perhaps it’s simply because there really is no plot to summarise. Handel’s oratorio, set to an anonymous...

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Radamisto, English Touring Opera review - propulsive, lively Handel

Baroque repertoire doesn’t seem to register on most British opera company’s schedules these days, so it is good to see ETO devoting their autumn season to Handel, Purcell and Bach, with some additions from Carissimi and Gesualdo for good measure....

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Prom 74, Theodora, Arcangelo, Cohen review - coherent and compelling Handel

This was the first complete performance of Theodora at the Proms, one of a series of Handel oratorios initiated with William Christie’s Israel in Egypt last year. Theodora is more often performed today as a staged opera, most famously in the Peter...

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'I wanted a juke box that plays nothing but flip-sides' - Jeremy Sams on The Enchanted Island

I have many files, in bulging boxes and dusty corners of my computer, of projects that, for whatever reason, never came to fruition. To be honest I’ve forgotten most of them. And I wrongly assumed that The Enchanted Island would be one of those...

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Proms 25 / 26 review - Russian masters, noodling guitar, late-night perfection

Sometimes the more modestly scaled Proms work best in the Albert Hall. Not that there was anything but vast ambition and electrifying communication from soprano Anna Prohaska and the 17-piece Il Giardino Armonico under Giovanni Antonini, making that...

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Saul, Glyndebourne review - from extravaganza to phantasmagoria

It's swings and roundabouts for Glyndebourne this season. After the worst of one director currently in fashion, Stefan Herheim, in the unhappy mésalliance of the house's Pelléas et Mélisande, only musically gripping, comes the already-known best of...

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Pick of the 2018 BBC Proms: women composers first and last, blockbuster Bernstein

Let's be honest, this is the least interesting Proms season on paper for years, at least in terms of adventurous repertoire choices, following on the heels of the best in 2017. Yet in statistical terms it's more comprehensive and multi-media-...

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Classical CDs Weekly: Handel, Holloway, Korngold, Nielsen

Handel: Sonatas for Violin and Basso Continuo The Brook Street Band (Avie)A slimmed-down Brook Street Band give us nine of Handel's violin sonatas on this disc. Autograph manuscripts only survive for five of them, but the other four sound...

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Partenope, Iford Arts review - a midsummer night's dream of a Handel comedy

Rejected by London’s Royal Academy of Music in 1726 on grounds of frivolity, Partenope is the ultimate Handelian rom-com – a comedy whose intriguing is carried out with a smile, a swagger and a sparkle in the eye. But what raised eyebrows in the...

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Acis and Galatea, English National Opera, Lilian Baylis House review - Handel for the hashtag generation

If you go to ENO’s Acis and Galatea expecting a grassy knoll draped decoratively with a Watteau shepherdess or two then you may be disappointed. Launched in 2017, the company’s reliably punchy Studio Live strand (stripped-back, small-scale, off-site...

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Giulio Cesare, Glyndebourne review - no weak link

What a great show, on every level. David McVicar’s Glyndebourne production of Handel’s Giulio Cesare, originally staged in 2005, and in its third revival this year, has a cast without a weak link, and never fails to draw in the audience to the work’...

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