Handel's Rodelinda, regina de' Longobardi, HWV 19, was a hit at its first performance in 1725 and has dropped out of the repertory only during periods when all of Handel's operas did. It is absolutely loaded with great Handelian tunes and also has a more-than-coherent plot involving an imprisoned queen in a conquered Milan, the intrigue that swirls around her among her lustful conquerors, and her disguised husband, Bertarido, who attempts to rescue her. The lead role has drawn star sopranos from Joan Sutherland on down, but many listeners will be drawn to the singing here of Lucy Crowe, who really inhabits the role. She sang it with the Dutch National Opera, and here, she returns with convincing delivery that will keep listeners' heads out of the libretto. She is aided by the clean playing of the English Concert under Harry Bicket, who leads from the harpsichord, and a strong supporting cast, including the ideal Iestyn Davies as Bertarido. This performance was planned for the English Concert's annual live concert at Carnegie Hall in New York; that was canceled due to the 2020 coronavirus pandemic, but Bicket and the group decided to record the opera instead, inaugurating a new series of Handel operas. The socially distanced playing and singing at St. John's Smith Square is a little rusty in spots, and the venue is somewhat airy for the music, but all in all, this is a Handel opera performance that makes one anxious for more of the same for the performers.© TiVo

Everyone knows Camille Saint-Saëns has a great sense of humour thanks to his Carnaval des Animaux in which no one escapes ridicule, not even him. Now the Palazzetto Bru Zane Foundation and Hervé Niquet have unearthed Phryné, a forgotten comic opera from 1893 enriched with recitatives composed by André Messager three years later.Received with immense and lasting success in its time, this brilliant work eventually fell into the abyss, never to be seen again. Fortunately, fans of Saint-Saëns made great efforts to rediscover his works on the centenary of his death in 2021. Phryné captures the "Grecomania" that was prevalent in all the arts in France at this time, especially in Offenbach’s music and even in architecture (just think of the beautiful Parisian district of New Athens in the 9th arrondissement). Ironically, and perhaps a little cheekily, Saint-Saens confessed that he was “working on this little piece with infinite pleasure” and was infatuated with this courtesan musician who had served as a model for the sculptor Praxitele.Always keen to discover a forgotten repertoire, Hervé Niquet brought together a few singers, Florie Valiquette, Cyrille Dubois, Anaïs Constans and Thomas Dolié, to breathe some life back into Phryné with his Concert Spirituel, with the aim of producing a concert version to be performed in the Opéra de Rouen Normandie in 2021. Though Lucien Augé’s libretto may seem tasteless today with its hefty dose of misogyny, Saint-Saens’ music is simply delicious, with a succession of arias and ensembles. This modest and charming opera-comedy, which Charles Gounod so enjoyed, offers a less serious and less academic take of a composer that well and truly deserves to be rediscovered. © François Hudry/Qobuz

While the German soprano follows in the footsteps of Cecilia Bartoli, her virtuoso voice separates her fans from the purists who prefer a less fanciful vocal-line. This long-awaited new album from Simone Kermes shows off her masterful voice in almost every register and there is no sign of the excessiveness for which she has previously been criticised. Typically referred to as a “Ba-rock” star, some people are irritated by her gestures and extreme theatrics during her concerts, but those mannerisms are long forgotten here in the absence of any images. The title of the album, “Mio caro Händel”, says a lot about the affinity Simone Kermes feels with the Saxon composer. She has selected his most popular pieces, such as Ombra mai fù(Largo of Love), Piangeró la sorte mia(I will lament my fate) and Lascia ch’io pianga(Let me weep), along with some much less well-known pieces, which are some of the most wonderful revelations and rare musical gems on the album. The singer recorded this testimony of love to Händel in Berlin’s famous Jesus-Christus-Kirche in 2018 accompanied by Amici Veneziani, an ensemble put together especially for her which mostly comprises of German musicians and is led by Russian violinist Boris Begelman. As a great traveller who went all over Europe, this captures Händel’s European spirit perfectly. © François Hudry/Qobuz

Backed by the Sun King despite a lukewarm audience reception at first, Lully's Atys (1676) went on to become one of the composer's most successful operas, with revivals at French court theaters as late as 1753. In modern times, however, it is a considerably rarer item due to the massive forces and time required. Christophe Rousset was in the pit as harpsichordist when conductor William Christie gave the first modern revival of the work in the late '80s. That experience marks this 2024 release, which made classical best-seller lists at the beginning of that year. That is not common for a hefty five-act Baroque opera, but even a bit of sampling will confirm why it happened: Rousset, from the keyboard, brings tremendous energy to the opera. He pushes the tempo in the numerous dances and entrance numbers, and the musicians of Les Talens Lyriques and the singers of the Choeur du Chambre de Namur, all of whom have worked closely with Rousset in the past, keep right up. The singers in the solo roles are all fine; haut-contre Reinoud Van Mechelen in the title role and Ambroisine Bré as the goddess Cybèle, who sets the tragic plot in motion, are standouts. The sound from the increasingly engineering-expert Château de Versailles label is exceptionally clear in complex textures, and the sensuous cover art (representing, it is true, not the Roman mythological figure of Atys but Hippomène and Atalante) is a bonus. In the end, this is Rousset's Atys, and that is a very good thing.© James Manheim /TiVo

Beyond the neglect of French Baroque music in general, it is a bit hard to understand why composer Pancrace Royer was almost completely unknown until Christophe Rousset came along to champion him, first in harpsichord music and now, with these suites of music drawn from operas, in orchestral music. In the 18th century, Royer was quite well known and admired among others by Rameau, whose music he helped along considerably. Royer certainly inhabited Rameau's stylistic world, but from the evidence here, his music is distinctive and merits the adjective "surprising" that Rousset has attached to it. It is colorful, given to unexpected turns of harmony, and vivid in its evocation of the exotic scenes of French opera. Sample the "Air pour les turcs" ("Air for the Turks") from Zaïde, reine de Grenade, with its crackling percussion. Royer challenged his orchestra with virtuoso ensemble writing in the likes of the "Premier et second tambourins" from Almasis, and Rousset and Les Talens Lyriques step up with precise, vigorous readings that one imagines would have made the composer overjoyed. The inclusion of two alternate versions for movements from Zaïde is also unusual and gives insight into the compositional thinking of the day. Essential for specialists and enthusiasts interested in the French Baroque, this album is a lot of fun for anyone, with only overdone church sound detracting from the overall effect. © James Manheim /TiVo

Poro, re delle Indie, HWV 28 (a.k.a. Poro, re dell'Indie, Poro, or Porus), a Handel opera seria of 1731, was a great success at the beginning, and modern scholars have pronounced it one of the finest Handelian operas. The work is performed from time to time, in the original Italian or in German translation, but recordings have been sparse. The opera constructs a romantic plot around the clash between Alexander the Great and the Indian king Porus, who interestingly is attested only in Greek sources, not Indian ones. Also interesting is that the libretto by Pietro Metastasio was originally called Alessandro nell'Indie, but Handel's opera shifts the central role to Porus, perhaps because the famed castrato Senesino was set to perform the part. Here, the role of Poro is ably handled by countertenor Christopher Lowrey. However, a notable feature of the opera, and perhaps one that made this the second-most-popular of Metastasio's libretti behind only the ubiquitous Artaserse (Artaxerxes) is the large collection of strong vocal roles, giving several singers the chance to shine. The opera seria pitfall of a series of set pieces is avoided, and the drama unfolds naturally. The role of Poro is balanced that of Alessandro himself, for tenor voice, and here, Marco Angioloni, one of a new breed of singer-directors, is very strong. Hear also Giuseppina Bridelli as Poro's sister Erissena, a rich, compelling contralto. In his role as director of the ensemble Il Groviglio Angioloni, he favors a substantial ensemble (ten violins) capable of rough, rather percussive attacks. With an English opera, an Italian ensemble, and an international cast of singers, this release marks a step out for the Château de Versailles label, which generally emphasizes French Baroque repertory. The music is, however, a fine choice and beautifully brought off.© James Manheim /TiVo

The impression of the ink still being wet on the page is not an unfamiliar one when listening to Fabio Biondi and Europa Galante, such is the freshness and elan they inject into everything they turn their musical attentions to. However in the case of their Vivaldi Edition Argippo the ink pretty much was still wet as they recorded it, because this is Bernardo Ticci's 2019 reconstruction of what is in fact a lost Vivaldi pasticcio (a cutting and pasting together of music from other operas), created in 1730 for the Venetian impresario Antonio Peruzzi to stage in Vienna and Prague. The reconstruction has been possible because the librettos from those two productions remain, plus a set of arias, and also the full score of a complete three-act, untitled and anonymous opera featuring arias from up to twelve other composers – and both the arias and the score appear to be derived, albeit with many changes, from the Prague libretto. The result is a reconstruction which on the one hand is decidedly scant on actual music by Vivaldi, given that even those arias believed to be from his pen can't be confirmed as such, and they appear alongside arias by Galeazzi, Pescetti, Hasse, Porpora, (possibly) Fiorè and Vinci. However, it's also a stylistically diverse and thus thoroughly entertaining offering that bears all the hallmarks of a Vivaldi pasticcio, and is undoubtedly in the spirit of one. Argippo's action takes place in the Bengali Kingdom – a tapping into the contemporary Venetian enthusiasm for tales of the East, although that influence didn't bleed into the musical style itself. A classic Baroque opera plot centred around lies and mistaken identities – King Argippo of Chittagong and his wife Osira almost lose their lives while visiting the court of the Gran Mogol Tisifaro, because the Tisifaro's cousin Silvero seduces his daughter Zanaida while disguised as Argippo – it's high on drama and strife before eventually reaching its happy conclusion. So, add the multi-composer score, and Biondi's five-strong cast have plenty to get their teeth into. Highlights include the opera's first fizzing showstopper, “Se lento ancora”, contralto Delphine Galou as the Gran Mogol Tisifaro's daughter Zanaida making light work of her leaping figures and embellishments as she anguishes over being betrayed by her lover. Also the soft and fruity-toned fluidity to the vocal acrobatics of ‘Un certo non so che’, sung by soprano Marie Lys as a fearful Osira. Equally fine voiced are soprano Emőke Baráth in the title role, contralto Marianna Pizzolato as Silvero, and bass Luigi de Donato as Tisifaro. Europa Galante themselves bring it all together with their characteristic blend of warmth, fizz and dramatic flair, having launched things with a cracker of an opening Sinfonia. In short, great fun. © Charlotte Gardner/Qobuz

There's no shortage of Handel aria recitals these days, especially in Britain, but this one by bass baritone Christopher Purves stands out from the crowd in several respects. First of all, it is rare in collecting arias for bass voice, which was, in Handel's time as it was later on, generally associated with a few fixed and generally negative character types (tyrants, rogues, repressive patriarchs). Second, it's a very pleasantly varied collection of tunes, including displays of brilliant passagework, out-of-the-norm writing in service of characterization (Fra l'ombre e gl'orrori, from Aci, Galatea e Polifemo, track 4), and high climactic drama (the big, three-part Revenge, Timotheus cries, from Alexander's Feast, track 19, is a familiar example). Finally, Purves unearths some rarely heard pieces and programs them intelligently. When did anyone last year anything from Muzio Scevola, or Riccardo Primo, rè d'Inghilterra, which must have pleased London audiences in 1727 despite its Italian-language text. Purves does not have the biggest voice in the bass baritone universe, and there could be a bit more sound in the very low notes. But the dimensions of the music are right for the period. He's pleasingly accurate in the passagework, and he's a real actor who makes these potentially stilted characters come alive. Listeners will want to hear Purves in a small production of one of these operas after hearing this album, preferably accompanied by the strong historical-instrument group Arcangelo under Jonathan Cohen, as he is here.© TiVo