Search - George Frederic Handel, René Jacobs, Ensemble 415 :: Handel: Flavio

Probably one of the best recordings of a Handel opera, ever.

Steven Guy | Croydon, South Australia | 01/12/2008

(5 out of 5 stars)

"I bought this in the early 1990s and it still impresses me a hell of a lot. The entire cast is good and the two countertenors, Derek Lee Ragin (Guido) and Jeffrey Gall (Flavio), are in top form. Lena Lootens sings the role of Emilia and Bernarda Fink is Teodata, she sang this role before the terminal wobbles set in and she forced a steady and rapid vibrato on everything she sang after. Christina Högman, a very popular Baroque-style soprano in the early 1990s, sings the role of Vitige. Ugone is sung by the tenor, Gianpaolo Fagotto, and Lotario is sung by the bass, Ulrich Messthaler.



Ensemble 415 is in top form under the direction of Chiara Banchini, who seems to have prevented monsieur Jacobs from doing anything perverse or wayward with Handel's score.



Along with René Jacobs' recordings of Handel's "Giulio Cesare" and "Rinaldo", Keiser's "Croesus", Graun's "Cleopatra", Monteverdi's "Il ritorno d'Ulisse in patria" and the Mozart operas, this is one of Jacobs' best.



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Tops current period baroque opera recordings.

Abel | Hong Kong | 03/26/2010

(5 out of 5 stars)

"This early 1990's performance was under the baton of Rene Jacobs, who heads an immaculately capable vocal cast.

In the lead roles, Derek Lee Ragin and Jeffrey Gall offer the two 'primo castrato' roles. Ragin, in particular, is in top form in this recording, radiantly expressive with a full and mellifluous alto countertenor voice. Lootens also portrayed a dramatically expert Emilia.

The title role of Flavio has Gall, with a some what husky counter tenor voice that depicts the older character of King Flavio very well.

The top credit, however, goes to the conductor, who maintained a very well-balanced and muscially highly effective ensemble throughout the entire work.

The recitatives are very well handled, and the arias with da capos treated with utmost dramatic finesse.

From the very beginning of the overture, the audience is being led to expect a full-fledged dramatic experience, and this tension lasts right through to the very last chorus in the grand finale.

Cannot recommend this recording more."