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6 of 6 people found the following review helpful:
4.0 out of 5 stars
Another valuable account of Handel's 'Gloria', 4 Jun 2002
Keith or Kirby? That one will run and run, I imagine. Both this recording by John Eliot Gardiner and Emma Kirby's radiant performance on the premiere with Laurence Cummings and the Royal Academy of Music's Baroque Orchestra (BIS, June 2001) have much to commend them. For me, Kirby's experience puts her a little ahead, but by contrast Gardiner calls forth richer instrumental tones from his players. We now also have other choices. The Gottingen Handel Festival Edition is a live recording from their 3 June 2001 gala performance with Dominique Labelle, soprano, the Philharmonia Baroque Orchestra, and conductor Nicholas McGegan. And the Baroque Academy of Montreal offer another period instrument rendition on Atma Classique (ACD2 2215), accompanied by Bach and Vivaldi 'Glorias'.Unquestionably, Gardiner's thoughtful account of the 'Dixit Dominus' is to be preferred to the archive one from 1986 on the BIS CD. But why the Vivaldi? There are better versions out there, and Gardiner of all people would have been capable of coming up with another matching Handel offering - say a Motet like 'Saeviat tellus inter rigores' or the Psalm 'Nisi Dominus'. Still, this is a worthwhile disc. Handel's 'Gloria' is new enough to the general listening public to require a variety of interpretations and approaches. For my money Kirby will remain the benchmark soloist, but Keith has offered a spirited response.
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4 of 4 people found the following review helpful:
4.0 out of 5 stars
New young soprano on the firmament, 13 Mar 2003
It is very difficult to choose between this lovely recording of Handel's recently discovered Gloria and the inaugural recording by Emma Kirkby.
Both of the accounts are actually very similar, in terms of timing and style. Both singers are clear, high "bell" sopranos with excellent diction and a pleasing timbre. Emma Kirby gives a very characterful performance, just what you would expect if you are a fan of hers. But this is what nags me a bit about some classical singers - they tend to sound too much "like themselves" rather than what the composer intended, in this case Handel (the tenor Ian Bostridge makes me feel like this too - a beautiful voice, but there's a "sameness" about everything he sings).
While Handel would have relished either of these performances, I feel Gillian Keith has the edge. She is a smoother singer, without sacrificing the words, and very musical. The accompanying chamber group plays on authentic instruments of the period (not so on the EK recording) and above all, she is refreshingly new. I look forward to hearing more of her.
I would hope that both of these singers mutually admire and influence each other. In conclusion, if you really really like this piece it would be worth buying both versions, as it will enhance your appreciation of this lovely music.
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3 of 3 people found the following review helpful:
5.0 out of 5 stars
Breezy!, 24 Jul 2006
Sir John Eliot's recording of these works are typically excellent.
Vivaldi's Gloria, so utterly driven to death by choral society tenors, is given a beautifully Italian drive (such as can be heard on Bartoli's Vivaldi album) and life to it that one is immediately pulled along. Particularly lovely is the soprano and oboe duet in Domine Deus.
The Handel Gloria still fails to be a favourite of mine, but Gillian Keith, a very fine soprano, gives a good reading here and is typical of her style - a lovely open and round sound, and one can see here why she is a prizewinning soloist.
The Dixit Dominus is perfect. It is without fault. Quite how the performers do not collapse in a heap halfway through I do not know. Everything is well judged, and the phrasing is exemplary. Another triumph for JEG & EBS that knocks the spots off others.
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