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"HANDEL: ITALIAN CANTATAS".(Review)

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| June 01, 2001 | VASTA, STEPHEN FRANCIS | COPYRIGHT 2001 Metropolitan Opera Guild, Inc. This material is published under license from the publisher through the Gale Group, Farmington Hills, Michigan.  All inquiries regarding rights should be directed to the Gale Group. (Hide copyright information)Copyright

Magdalena Kozena [] "HANDEL: ITALIAN CANTATAS" Les Musiciens du Louvre, Minkowski. Texts and translations. DG Archiv 289 469 065-2

It's always a pleasure to hear Marc Minkowski's Musiciens du Louvre at their best. After their uneasy, curiously unformed account of Rameau's Dardanus, they have regained their accustomed form, bringing Handel's music to life with poise, style and precision. The oboe fanfares summon us to Delirio Amoroso with pungent, trumpety presence; the string figurations are taut and bristling. The bass instruments support the textures firmly, without the unbecoming thickness that plagued Dardanus. The dance-based movements, be they lilting, elegant minuets or vivacious, thrusting gigues, are impeccably characterized. The players mostly bring off the composer's concertante solos with aplomb: Anton Steck's violin is incisive and showy, Sebastien Marq's recorder clear, Balazs Mate's cello warmly expressive. Only Juan-Manuel Quintana's gamba obbligato in Tra le Fiamme is rough and unprepossessing.

Their efforts here are in support of the Czech mezzo Magdalena Kozena. When she allows herself to relax and just sing, as in "Ma siamo giunti in Lete" from Delirio Amoroso, she displays a warm, vibrant mezzo timbre; a beautifully connected, full-throated legato; and a sensitive, stylish way with a phrase. She also has a good trill and manages fioriture deftly across a wide range ...

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