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(L')Allegro, il penseroso ed il moderato
Composed by George Frideric Handel
Performed by Paris Orchestral Ensemble
with Christine Brandes, Lynne Dawson, David Daniels, Ian Bostridge, Alastair Miles
Conducted by John Nelson
Product Description
Amazon.co.uk Review
L'Allegro, Handel's experimental ode/oratorio hybrid, is the least obviously theatrical of his vocal works (choreographer Mark Morris made a delightful but somewhat obvious ballet out of it by visually illustrating all the musical images). There are no clashes of personality or dramatic dilemmas such as you find in the operas and oratorios, and thus the music itself has to provide the structure and coherence. The brilliance of this recording lies in the freshness of approach that director John Nelson brings to the score, and the lively creativity with which it has been recorded. There are some astonishing effects, such as a haunting mix of pizzicato bass, string harmonics and damped harpsichord in the "far-off curfew" number, a beautiful and crisp carillon obbligato in the "merry bells" movement, and a great organ solo to conjure up the consolations of religion in the tenor solo "There let the pealing organ blow". The singing is gorgeous, especially the almost sinfully sumptuous sound of David Daniel's rich countertenor and Ian Bostridge's clear, athletic tenor. The choral numbers are excellent, and the non-authentic instrument orchestra uses period phrasing with perky sensitivity. --Warwick Thompson
L'Allegro, Handel's experimental ode/oratorio hybrid, is the least obviously theatrical of his vocal works (choreographer Mark Morris made a delightful but somewhat obvious ballet out of it by visually illustrating all the musical images). There are no clashes of personality or dramatic dilemmas such as you find in the operas and oratorios, and thus the music itself has to provide the structure and coherence. The brilliance of this recording lies in the freshness of approach that director John Nelson brings to the score, and the lively creativity with which it has been recorded. There are some astonishing effects, such as a haunting mix of pizzicato bass, string harmonics and damped harpsichord in the "far-off curfew" number, a beautiful and crisp carillon obbligato in the "merry bells" movement, and a great organ solo to conjure up the consolations of religion in the tenor solo "There let the pealing organ blow". The singing is gorgeous, especially the almost sinfully sumptuous sound of David Daniel's rich countertenor and Ian Bostridge's clear, athletic tenor. The choral numbers are excellent, and the non-authentic instrument orchestra uses period phrasing with perky sensitivity. --Warwick Thompson
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