It is high time that Ariodante, by common consent among the richest of all Handel's operas, was available on CD. Set in Scotland (though it could equally be anywhere else in the world), it has a relatively simple plot, centring on a deception that convinces Ariodante that Princess Ginevra, his betrothed, is unfaithful to him, and which gives rise to plenty of strong emotion and high drama. Clearly Handel was quickly captivated by these characters: the music begins well and gets even better. The present performance was recorded some 15 years ago, and has a ring of the 1970s about it particularly perhaps in that it doesn't seem to have much dramatic conviction—the old notion that Handel's operas were 'concerts in costume' is lurking there somewhere, for there is little feeling of a continuing, unfolding drama.
Never mind: the music is superb, and much of it is finely done. Dame Janet Baker is in splendid voice in a role in which she excelled (I still remember her thrilling singing of it in a Birmingham University production of 1964) and throws off the grandly heroic arias with considerable fire and passion as well as bringing much intensity to the sombre ''Scherza infida!'' (though the orchestra here is perversely balanced, with strange added bassoon trills). No one else reaches quite that level. Edith Mathis, although touching as Ginevra, shows no real feeling for Handelian style; Norma Burrowes's Dalinda has a pleasantly frolicsome manner, and David Rendall makes a secure if not specially imaginative Lurcanio. Samuel Ramey's King of Scotland is impressive mainly in the slow and reflective music. Polinesso's part was written for a contralto and ought to be sung by one; James Bowman is not in his best voice, with the tone rather spread and wanting in focus. There is some careful-sounding added ornamentation; the orchestral playing is sturdy and dependable untouched by notions of period style, and the bass line is apt to plod. This performance somehow doesn't quite add up to the sum of its parts, but there are many fine things in it and it has a firm place in any collection of Handel operas.'