“… Handel’s genius for characterization is heard all through this long opus. Melissa, in particular, is no generic, jealous woman, but one whose tormented state of mind is explored by the composer with empathy and specific colors. The singers here are all very good.. Christian Curnyn leads a well-played and sung performance … The sound is excellent…”

“… a thrilling performance of a ‘magic opera’ crammed with ravishing melody and evocative orchestral colours…  A Handelian winner.” – Richard Wigmore

Nominee in the Baroque Vocal category

Editor’s Choice – Opera

“… This new version, recorded in a more spacious acoustic, surpasses it [Minkowski – Warner Classics] vocally and orchestrally. Bouyed by a supple, strongly directed bass line, the playing of Curnyn’s Early Opera Company, technically impeccable, has that much more colour and fire than Minkowski’s Musiciens du Louvre. Curnyn’s cast of expert Handelians is self-recommending… Rivalling Summers in eloquence, Spreckelsen and Zoe Shevlin … epitomise the close dramatic interplay between voice and orchestra that is a prime feature of this whole, superb performance.”

Coup de cœur *****

Classical Album of the Week

“…Curnyn and his company accompany the fine soloists — Tim Mead, Anna Dennis, Mary Bevan and Hilary Summers — with playing of sprightliness, subtle shading and captivating fluidity. Mead’s performance of the aria At the Fountain of Truth would melt the hardest heart. ****

Opera Choice

Performance  *****      Recording *****

“Handel took a less-is-more approach to his Amadigi di Gaula. Christian Curnyn’s answering restraint reveals the stark solos, shimmering textures, ringing silences and stunning one-to-a-part counterpoint of music that fairly bursts with its composer’s early genius… Mary Bevan sings the central role of Melissa with transfixing intensity… The instrumentalists’ playing is revelatory…”

“All the roles are for high voices, which could have made for unvaried home listening, but there’s an effective contrast between the liquid tone of Tim Mead’s countertenor in the title role and the distinctive steel-cored contralto of Hilary Summers as his false friend Dardano. The two sopranos, Mary Bevan as Melissa and Anna Dennis as Oriana, are closer in tone but both respond with some glorious singing to the way Handel’s music draws their differing characters.” ****