HANDEL Finest Arias for Base Voice
Purves joins Cohen’s new group for wide-ranging Handel
View record and artist detailsRecord and Artist Details
Composer or Director: George Frideric Handel
Label: Hyperion
Magazine Review Date: 01/2013
Media Format: CD or Download
Media Runtime: 70
Mastering:
Stereo
DDD
Catalogue Number: CDA67842
Tracks:
Composition | Artist Credit |
---|---|
Rinaldo, Movement: ~ |
George Frideric Handel, Composer
Arcangelo Christopher Purves, Singer, Bass George Frideric Handel, Composer Jonathan Cohen, Conductor |
Acis and Galatea, Movement: I rage, I melt, I burn! |
George Frideric Handel, Composer
Arcangelo Christopher Purves, Singer, Bass George Frideric Handel, Composer Jonathan Cohen, Conductor |
Acis and Galatea, Movement: O ruddier than the cherry |
George Frideric Handel, Composer
Arcangelo Christopher Purves, Singer, Bass George Frideric Handel, Composer Jonathan Cohen, Conductor |
Aci, Galatea e Polifemo, 'Sorge il dì', Movement: Fra l'ombre e gli'orrori! |
George Frideric Handel, Composer
Arcangelo Christopher Purves, Singer, Bass George Frideric Handel, Composer Jonathan Cohen, Conductor |
(L')Allegro, il penseroso ed il moderato, Movement: If I give thee honour due |
George Frideric Handel, Composer
Arcangelo Christopher Purves, Singer, Bass George Frideric Handel, Composer Jonathan Cohen, Conductor |
(L')Allegro, il penseroso ed il moderato |
George Frideric Handel, Composer
Arcangelo Christopher Purves, Singer, Bass George Frideric Handel, Composer Jonathan Cohen, Conductor |
(La) Resurrezione di Nostro Signor Gesù Cristo, Movement: ~ |
George Frideric Handel, Composer
Arcangelo Christopher Purves, Singer, Bass George Frideric Handel, Composer Jonathan Cohen, Conductor |
(La) Resurrezione di Nostro Signor Gesù Cristo |
George Frideric Handel, Composer
Arcangelo Christopher Purves, Singer, Bass George Frideric Handel, Composer Jonathan Cohen, Conductor |
Deborah |
George Frideric Handel, Composer
Arcangelo Christopher Purves, Singer, Bass George Frideric Handel, Composer Jonathan Cohen, Conductor |
Belshazzar, Movement: ~ |
George Frideric Handel, Composer
Arcangelo Christopher Purves, Singer, Bass George Frideric Handel, Composer Jonathan Cohen, Conductor |
Orlando, Movement: ~ |
George Frideric Handel, Composer
Arcangelo Christopher Purves, Singer, Bass George Frideric Handel, Composer Jonathan Cohen, Conductor |
Theodora, Movement: ~ |
George Frideric Handel, Composer
Arcangelo Christopher Purves, Singer, Bass George Frideric Handel, Composer Jonathan Cohen, Conductor |
Muzio Scevola, Movement: ~ |
George Frideric Handel, Composer
Arcangelo Christopher Purves, Singer, Bass George Frideric Handel, Composer Jonathan Cohen, Conductor |
Agrippina, Movement: ~ |
George Frideric Handel, Composer
Arcangelo Christopher Purves, Singer, Bass George Frideric Handel, Composer Jonathan Cohen, Conductor |
Apollo e Dafne, '(La) terra è liberata', Movement: ~ |
George Frideric Handel, Composer
Arcangelo Christopher Purves, Singer, Bass George Frideric Handel, Composer Jonathan Cohen, Conductor |
Apollo e Dafne, '(La) terra è liberata', Movement: Aria: Cara pianta, co' miei pianti |
George Frideric Handel, Composer
Arcangelo Christopher Purves, Singer, Bass George Frideric Handel, Composer Jonathan Cohen, Conductor |
Alexander's Feast, Movement: Revenge, revenge, Timotheus cries |
George Frideric Handel, Composer
Arcangelo Christopher Purves, Singer, Bass George Frideric Handel, Composer Jonathan Cohen, Conductor |
Semele, Movement: ~ |
George Frideric Handel, Composer
Arcangelo Christopher Purves, Singer, Bass George Frideric Handel, Composer Jonathan Cohen, Conductor |
Author: Richard Wigmore
No Handel aria trades in ‘distant intervals’ more spectacularly than Polifemo’s ‘Fra l’ombre e gl’orrori’, in which the oversexed cyclops compares himself to, of all things, a bemused butterfly. Handel later recycled this, in a slightly simplified version, for Montagnana in Sosarme. Unfazed, Christopher Purves sings the original, stunningly, expanding its two-and-a-half octave compass (high tenor A to subterranean bass D) by inserting a fathomless low B flat in the da capo. But the result is no mere circus trick. Possessing in effect two voices in one – a ringing, incisive high baritone with a sonorous bass extension – Purves veils his tone to convey bemusement, even pathos.
Purves’s flair for specific characterisation enlivens every number on the disc. Egged on by Arcangelo’s splenetic strings, he works himself into a rage worthy of Boschi in an aria from Riccardo Primo. Coloratura, here and elsewhere, is always precisely focused, wide leaps cleanly negotiated at speed. In ‘O ruddier than the cherry’ he delightfully suggests destructive lust barely contained beneath the would-be ingratiating veneer. Elsewhere Purves relishes the tortuous chromaticism of Lucifer’s ‘Caddi, è ver’ (La Resurrezione) and the genial swing of the ‘hunting’ aria from L’Allegro, abetted by Roger Montgomery’s rollicking horn obbligato. He can be dulcet, too, whether in Claudius’s attempted seduction of Poppea in Agrippina or the arias for two chastened fathers, Abinoam (Deborah) and Gobrias (Belshazzar), the latter growing more intense and troubled as it proceeds. Trumpet and voice vie thrillingly in the perennial bass favourite, ‘Revenge, Timotheus cries’, while in the final number, Somnus’s ‘Leave me, loathsome light’, Purves evokes drowsiness and lassitude without recourse to a white, ‘yawned’ tone. Jonathan Cohen and Arcangelo savour the rich string textures here, typical of their feeling for colour throughout a recital that pays eloquent tribute to Handel’s boundless invention in composing for bass voice: a counter, as David Vickers suggests in his informative note, to the clichéd notion that his bass arias are all undifferentiated bluster.
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