Handel: L’Allegro, il Penseroso ed il Moderato

The Gabrieli’s first Handel recording in over a decade is particularly special, recreating in painstaking detail the very first performance of L’Allegro, il Penseroso ed il Moderato, given in 1740, with additional instrumental repertoire including a Handel organ concerto and two concerti grossi.

With a reputation as peerless Handelians, Paul McCreesh and the Gabrieli Consort & players bring meticulous research to every performance and recording project, and are joined on this disc by a stunning selection of soloists.

Featured Soloists Gillian Webster soprano, Laurence Kilsby treble, Jeremy Ovenden tenor, Peter Harvey baritone, Ashley Riches bass, William Whitehead organ Gabrieli Consort Gabrieli Players Catherine Martin leader Paul Mccreesh conductor

The singing, from all soloists and chorus, has tremendous character and clarity, fizzing with excitement or languishing in lovely legato, and soprano Gillian Webster carries all before her with grace, easy elegance, and a ravishing range of vocal colour. McCreesh finds all the expressive opportunities in a blissful production, at times breathtakingly beautiful Choir & Organ

McCreesh’s direction is both alert and expressive, and his soloists are very fine. Gillian Webster shines in Penseroso’s famous nightingale aria, Sweet bird, and in the only duet in which mirth and melancholy come together — the sublime As steals the morn, one of Handel’s greatest hits The Sunday Times

From the opening bars of this utterly compelling performance it is strikingly evident something special is afoot. Handel’s adopted countrymen were quick to recognise that the juxtaposition of Milton’s sublime poetry with Handel’s mimetic gifts had produced a work of try vernal freshness; “L’Allegro would remain one of the most popular works throughout the remainder of the 18th century. It is this meeting of literary and musical genius that lies at the heart of a performance for which all involved appear to have thought through every bar afresh, both texturally and musically. It is rare to hear words delivered with such point. Paul McCreesh’s decision to give Handel’s original 1740 version of course entails the loss of later additions, some of them favourites. Instead he prefaces Parts 1 and 2 each with a concerto grosso (op 6/1 and 3) and Part 3 with the Organ Concerto op7/1. As has long been customary with Gabrieli performances both singing and orchestral playing are outstanding, as is the solo team, with soprano Gillian Webster producing some ravishing mezzo voce singing, tenor Jeremy Ovenden superb in both diction and projection, an exceptional treble in Laurence Kilsby and noble singing of the baritone and bass parts by Peter Harvey and Ashley Riches respectively. This is quite simply life-enhancing music making, a glorious achievement in every respect. Early Music Today, Editors Choice

Who captured this country’s pastoral tradition better than Vaughan Williams? There is surely no greater, deeper evocation of our landscape than this 18th-century ode of Handel’s. To texts by John Milton, the music spotlights the contrasts between the “busy hum of men” in the city, and the “hedge-row elms, on hillocks green” of the countryside, setting up the deeper contrast between cheerfulness and melancholy. Handel’s ravishing score, realised to perfection by Paul McCreesh and Gabrieli, evokes these scenes with colourful precision. Gillian Webster’s piercingly pensive soprano and Jeremy Ovenden’s half-spoken, cheerful tenor effect a moving reconciliation in the sublime duet As Steals The Morn Upon the Night. A glorious recording. The Observer, Nicholas Kenyon