Opera Arias [Import]

The first few tracks of the recital are really the very best. He starts off with a moving interpretation of the popular Handel aria Ombra Mai Fu, exploring its lamentative undertones in a gripping manner. Va Tascito... from Giulio Cesare is given an equally moving interpretation. Daniels avoids sounding "hooty" and superlative, instead treating us to a superb legato and fine pianissimi. Of course, given that Giulio Cesare is his favorite role, one would expect no less.

Al Lampo del Armi is the one aria of the recital where you can most hear the presence of his famous vocal coach, the legendary Marilyn Horne. His powerful vocal attack evokes her heralded technique. By the way, if you are interested in hearing Marilyn Horne's Handel arias, there is a compact disc recital available that also includes arias from Vivaldi's Orlando il Furioso.

My other two favorite arias are Ah, Dispetto and L'angue Offeso, the latter an especially poignant rendition with subtle variations throughout.

Unfortunately, I feel compelled to also point out the bad selections included in this recital. First off, he dares to take on Scherza Infida, from Ariodante. In the last decade, full studio recordings of this opera surfaced, with critically praised interpretations by Anne Sophie von Otter and Lorraine Hunt Lieberson. I was especially fortunate to hear popular mezzo Susan Graham's Ariodante last year, with Houston Grand Opera. I still get shivers when I think of her go-for-broke, authoratative, bravura performance, which was executed under some very difficult conditions as part of the David Alden production. For Scherza Infida, she had to sing it while slowly sliding, upside down, off a large cupola suspended from the ceiling. She pulled it off flawlessly, although she admits that it was her most difficult performance ever. Needless to say, Daniels has nothing on these fine ladies. His Scherza Infida is, at best, a worthy effort, but the aria is above the tessitura in which he is comfortable, and the result is a weak tone and flawed navigation of the coloratura. The fact that it is conducted poorly, with only a fraction of the pathos, doesn't help.

The other letdown is Venti, Turbidi from Rinaldo. It is really a slapdash effort, with very messy coloratura. Here, he lets down Marilyn Horne, who herself thrilled audiences both in the studio and onstage with her rendition. This is especially sad, since he went on to record the entire opera in the studio, in a critically praised recording with Cecilia Bartoli, conducted by Hogwood. I haven't heard the full studio recording, but I really hope that he improved on this pitiful showing.

All said, this is a Handel recital that has more than enough gems to justify a spot in your opera collection.