Solo: Andrew Foster-Williams bass-baritone - Ormonte
Solo: Hilary Summers contralto - Rosmira
Solo: Lawrence Zazzo counter-tenor - Arsace
Orchestra: Early Opera Company
Conductor:Christian Curnyn
15-19 November 2004
Notes
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Reviews
The cast has no weak links, and Curnyn directs a performance devoid of the mannerisms and quirks of some Handelians
The Sunday Times
… Christian Curnyn has as infallible a sense of tempo and musico-dramatic shape… as the composer himself.The orchestral playing is light-fingered, colourful and sprightly, and the company commands a roster of the best singers among the younger generation of Handelians.
The Times
Handel collectors needn’t hesitate
Guardian
Listening to these discs has reminded me of full of enchanting music ‘Paretnope’ is…. In sum, then, if you have the Kuijken set, you don’t need to throw it away, but anyone new to this delightful opera should give the Chandos set – in state-of-the-art sound – a try. Die-hard Handelians, of course, will want both.
International Record Review
Handel’s 1730 opera is a genial and light-hearted affair that tells of Queen Partenope’s struggle to choose between three suitors. Rosemary Joshua gives a warm, intelligent and beautifully characterised account of the title role (her aria ‘Spera e godi’, in which she speaks of two lovers in turn is a triumph). The rest of the singing is all good, and Curnyn’s direction is lively and well-paced.
Classic FM
Christian Curnyn, our most original Handelian, directed the small band with his usual intense concentration and a sense of style and pacing.
The Times on their performance of Handel’s Amadigi
All in all it was a superb musical performance and a tantalising glimpse of an alternative approach to baroque opera.”
"Andante.com on the Company’s performance of Hande
Christian Curnyn conducts a highly competent performance thoroughly in the groove of modern Handelian style, with a cast that has no vocal weaknesses and many dramatic virtues.
Gramophone
The singers are generally excellent: Rosemary Joshua deploys vocal beauty to advantage in her portrayal of the charismatic Queen of Naples, Hilary Summers’s powerful contralto is ideal for the vengeful but ultimately forgiving Rosmira, and Lawrence Zazzo has the virtuosity and emotional range to make the best of the penitent Arsace, contrasting with the soft-grained countertenor of Stephen Wallace as Armindo, the modest prince who finally gain’s Partenope’s affection.
Early Music Review
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