- Audio CD (Feb 11 1992)
- Number of Discs: 3
- Format: Import
- Label: Polygram Records
- ASIN: B00000E4S9
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3 of 3 people found the following review helpful
5.0 out of 5 stars
the word of a prophet
Aug 22 2012
By Dr. Peter J. Glidden
- Published on Amazon.com
Honestly, I am in total shock to be the first reviewer of this piece of art.
And then again I'm not.
Trevor Pinnock is perceived as a sort of "John Eliot Gardiner-lite" - and that is not totally unmerited. However, this piece and his recording of Handel's Messiah, primus inter pares, or first among the host of recordings of that work, guarantees his place among the greatest conductors.
The late Arleen Auger's career speaks for itself; perhaps the greatest Mozartian Countess (Le nozze di Figaro), her very "grande dame-ness" makes her the ultimate passionate/frosty queen in this role.
The late Anthony Rolfe-Johnson is a gift for the ages, my very favorite tenor of all time.
David Wilson's utter richness of bass-baritone heaven is not to be missed.
Catherine Robbin's mezzo perhaps seems too feminine for the role of Cyrus - until we recall that this role, like that of Solomon and David, were written for women, not castrati nor counter-tenors.
James Bowman, truly among the first counter-tenors, is in his perfect sexless role here, the tragedy of the counter-tenor that our latest counter-tenors have overcome. I applaud him for his historical role.
Etc., etc.
And then again I'm not.
Trevor Pinnock is perceived as a sort of "John Eliot Gardiner-lite" - and that is not totally unmerited. However, this piece and his recording of Handel's Messiah, primus inter pares, or first among the host of recordings of that work, guarantees his place among the greatest conductors.
The late Arleen Auger's career speaks for itself; perhaps the greatest Mozartian Countess (Le nozze di Figaro), her very "grande dame-ness" makes her the ultimate passionate/frosty queen in this role.
The late Anthony Rolfe-Johnson is a gift for the ages, my very favorite tenor of all time.
David Wilson's utter richness of bass-baritone heaven is not to be missed.
Catherine Robbin's mezzo perhaps seems too feminine for the role of Cyrus - until we recall that this role, like that of Solomon and David, were written for women, not castrati nor counter-tenors.
James Bowman, truly among the first counter-tenors, is in his perfect sexless role here, the tragedy of the counter-tenor that our latest counter-tenors have overcome. I applaud him for his historical role.
Etc., etc.
›
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