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4 of 7 people found the following review helpful:
Speechless!, 14 Sep 2004
I was quite unprepared by Miss Fleming's career heretofore to be bowled over by this collection of Handel arias, but I was. I was no fan of her less than 'authentic' Baroque style on the complete 'Alcina' set, and Fleming herself is the first one to admit that her perspective on singing is general, Romantic even, rather than specialized. Anyway, this time around she positively shines and glows. Complete identification with the Baroque idiom, whatever that means, is what informs this recording. The wonderful conductor Harry Bicket was obviously a creative person to develop musical ideas with, and his tempi are theatrical and vivacious. You listen to the first two arias with rapidly mounting attention; how can this be?! When the time comes to the aria 'Scoglio d'immota fronte' from 'Scipione' you just let yourself be won over. Fleming demonstrates a furioso and a succession of juicy chest tones that make you associate to Cecilia Bartoli, with uncannily precise colorature, convincing, exciting dynamics and an attractive dense vibrato. Her voice is as tightly focussed as a ray of light, and she is freer than she ever was. Just listen to 'Da tempeste il legno infranto' from 'Giulio Cesare'! In 'V'adoro, pupille' from the same opera I have yet to hear anybody surpass Fleming's creativity in phrasing, her unique blend of honest Baroque theatricality with a decidedly Romantic cooing. The way she interprets the standard virtuoso piece 'Let the bright Seraphim' from 'Samson' leaves me speechless, sorry!
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(1 customer review)
