Most Helpful Customer Reviews
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9 of 9 people found the following review helpful:
5.0 out of 5 stars
At Long Last!, 16 May 2009
I have the only other commercial recording of EZIO on the Vox label. This runs for 127 minutes, & includes two Organ Concerti. Despite its claim to be complete, it is heavily cut; this is clear from the fact that the new recording runs for 186 minutes, &, according to my Barenreiter score, omits nothing.
I am no music critic, but the singing of the present cast pleases me greatly. The orchestral support & conducting are also admirable.
Most modern critics rate EZIO highly (Winton Dean, Donald Burrows, Jonathan Keates). Although there are few "Big Bow-Wow" numbers, all the the arias are interesting, & several are very good indeed.
For me, it is marvellous to see Handel's operas, so commonly under-rated not so many years ago, receiving at long last the quality of performance & recording that they are now getting. Like many people, accustomed to Mozart, Rossini, Verdi, etc., the conventions of Baroque Opera, including Vivaldi & Rameau, took some getting used to, but, without losing interest in later music, I have found the experience more & more enjoyable, & Handel in particular has opened up new & rewarding results.
The new EZIO is well presented, & strikes me as being very good value.
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9 of 9 people found the following review helpful:
5.0 out of 5 stars
Neglected but excellent Handel opera, 13 May 2009
'Ezio' come from Handel's mid period, a very interesting stage in his operatic career, just after the departure of Cuzzoni and Faustina from his company and before the acclaimed successes of 'Ariodante' and 'Alcina'. I love the works from this period, even the much maligned 'Lotario' and it's great to finally get the chance to hear the complete 'Ezio'.
This is one of Handel's attempts to set an adapted Metastasio text. The plot is actually an extremely good one but Handel's librettist cut so much of Metastasio's original that what remains is rather a mess and difficult to make much sense of. In particular the motivation of the character of Massimo is hazy and he ends up more a pantomime villain than a dishonoured and justly vengeful senator. The title role is potentially a very interesting one, standing up to a capricious Emperor with dignity but here he becomes just another languishing Handelian hero.
If the story disappoints the music most certainly does not. Indeed the music is as engaging and arresting as any of these fascinating mid period pieces. Handel had a new and exciting bass to show off in Montagnana and provided him with a series of truly excellent arias, even giving him the important final aria, a vigorous piece with brass accompaniment. Vito Priante carries these off very well in this recording. The heroine Fulvia is possibly the most interesting character and Karina Gauvin sings the role with feeling and drama - and a truly beautiful voice! Ann Hallenberg as always, sings with glorious velvet tone and does her best with the drama but Ezio is least well served musically in this opera I think. I wasn't overally impressed with the tenor of Anicio Zorzi Giustiniani as Massimo but he sounds suitably reedy for a villain. Sonia Prina is back on form as an authoritative emperor Valentiniano. Personally I wasn't especially keen on Marianne Andersen's voice as his sister Onoria finding her a little lightweight and bland but she does contrast well with the other low female voices here.
Alan Curtis as always is reliable and engaging with his Complesso Barocco and we must be grateful to him and Archiv for producing this excellent new recording.
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