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London Early Opera follow up their debut release with a treasure trove of music by George Frideric Handel, as well as his contemporaries Thomas Arne and John Hebden, centered on the Vauxhall Pleasure Gardens – a carnival of music and entertainments that entertained visitors for nearly 200 years. The booklet notes features images and expert commentaries of the Vauxhall Gardens by author David E. Coke and conductor and musicologist Bridget Cunningham. ★★★★★ Revelatory - a superbly performed, thoroughly enjoyable disc - Choir & Organ A treasure trove... highly recommended - The Northern Echo Bridget Cunningham's re-imagining of the first part of a typical evening's entertainment puts George Frideric centrestage, and sets the scene delectably with the flirtatious bustle of the Sinfonia to Acis and Galatea - BBC Music Magazine An attractive potpourri... bright, lively sound - The Observer A perfectly sensible and enjoyable approach to imagining what a typical night at Vauxhall might have sounded like. There is a charming ebba and flow to this hypothetical entertainment - Gramophone Most decorously sung and played by London Early Opera, conducted by Bridget Cunningham - Financial Times -
Bridget Cunningham marks St Patrick’s Day with a new harpsichord CD that gives a glimpse into Handel’s fascinating time in Dublin. In 1741 at the age of 56, following a financially difficult time in London and with fashions turning against Italian opera, Handel went to Dublin for 9 months – a thriving musical city and the 2nd largest in the British Isles after London. The story of this fascinating trip is told in both music and detailed accompanying notes by harpsichordist and musicologist Bridget Cunningham. This disc is part of Cunningham’s ongoing series with the ensemble London Early Opera, which has already seen releases of several volumes of Handel’s music, including Handel in Italy and Handel at Vauxhall. Selected as Primephonic’s Hidden Gem, January 2021. “Cunningham's playing is brilliantly authoritative... loving superb keyboard playing but her thoughtful and imaginative programme means that we are double tempted" - Planet Hugill. -
London Early Opera continue their new series of Handel’s works with the second volume of pieces composed in Italy. Both volumes of Handel in Italy explore the young composer’s Italian years through his cantatas, sacred pieces, operatic works and instrumental compositions. Handel wrote prolifically during his stay in Italy, his output includes oratorios, operas, sonatas, instrumental works and sacred vocal masterpieces including over 100 cantatas. Featuring performances from internationally acclaimed soloists, the sopranos Sophie Bevan and Mary Bevan with their uncle, baritone Benjamin Bevan conducted and conceived by Bridget Cunningham. -
London Early Opera perform a unique programme of Handel’s Italian-inspired works, devised by conductor Bridget Cunningham and featuring a unique family collaboration from from world-renowned soprano sisters Sophie Bevan and Mary Bevan alongside their uncle, bass Benjamin Bevan. Editor's Pick: This is as polished an account as any on account of Sophie Bevan's unerring sense of decorum for what each movement requires - Gramophone The quality of the musicianship is high - BBC Music Magazine A dazzling disc from the Bevan siblings - The Observer An enjoyable showcase for Mary, Sophie and Benjamin Bevan - The Sunday Times A pleasant compilation, showcasing the considerable vocal talents of three of the Bevan family - Early Music Review -
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.★★★★★ This is quite simply life-enhancing music making, a glorious achievement in every respect - Early Music Today ★★★★★ McCreesh finds all the expressive opportunities in a blissful production, at times breathtakingly beautiful - Choir & Organ ★★★★★ The choral elements are scrupulously handled by the Gabrieli Consort - BBC Music Magazine McCreesh's superb Gabrieli Consort and Players present all this...with flair, a pristine sense of style and infectious energy - The Times Handel's ravishing score [is] realised to perfection by Paul McCreesh and Gabrieli... A glorious recording - The Observer -
London Early Opera continue their programme themed around a typical evening’s entertainment at the 17th & 18th century Vauxhall Pleasure Gardens, with a second collection of works by George Frideric Handel and contemporary composers of the day (John Stanley, Thomas Gladwin, John Lampe and Johann Adolph Hasse). Featuring performances by soloists Claire Bessent, Mary Bevan, Benjamin Bevan, Eleanor Dennis, Charles MacDougale, Nicky Spence and Greg Tassell, the programme evokes the carnival of music and entertainments that amused visitors in these London gardens for nearly 200 years. The booklet notes feature images and expert commentaries on the Vauxhall Gardens by author David E. Coke and as well as conductor and musicologist Bridget Cunningham. Claire Bessent’s lovely ‘There sweetest flowers of mingled hue’ is amply worth the price of admission - Gramophone A must for early music devotees - Northern Echo -
This important new recording revisits George Frideric Handel’s monumental Suites de Pièces pour le Clavecin – subsequently known as the Eight Great Harpsichord Suites as well as his Chaconne in G major and some world première recordings of Handel’s superb arrangements of operatic arias and ouvertures which were specially reworked and ornamented by Handel for the harpsichord. The album celebrates the 300th anniversary of the first publication of these works on 14 November 1720. Bridget Cunningham is an international conductor, prizewinning harpsichordist and musicologist who trained at the Royal College of Music and was awarded a Junior Fellowship to work in the Centre for Performance History and coach singers in the baroque style. Cunningham is also Artistic Director of London Early Opera with a number of critically-acclaimed recordings out on Signum Classics. ★★★★★ Performance, ★★★★ Recording "In short, they are unashamedly intended to please the senses and, in the hands of stylistically informed players they never fail to do so. Bridget Cunningham is just such a player…Her feeling for dance rhythms is infectious and her ability to entertain unassailable" - BBC Music Magazine ★★★★★“At once magisterial and engaging, harpsichordist Bridget Cunningham brings a dynamic imagination to bear on Handel's still relatively neglected keyboard works” -Planet Hugill“Sometimes one hears a recording for the first time, and immediately knows that it will be remarkable... Bridget Cunningham’s is one that stands out as a well-crafted and musically deeply committed performance. Above all, her playing conveys to the listener her love of these brilliant and astonishing pieces, and the recording does full justice to the music” - Harpsichord and Fortepiano Magazine -
Handel’s Queens features some of the most exquisite pieces of music written by G.F. Handel and his contemporaries for the two finest singers of the eighteenth century, Faustina Bordoni and Francesca Cuzzoni. Often wrongfully framed as rivals, these dazzling new recordings with Mary Bevan and Lucy Crowe reveal the distinctive yet versatile talent of the Italian vocalists. Conductor Bridget Cunningham continues her research and created Handel’s Queens and directs London Early Opera from the harpsichord. Handel’s Queens - as part of this important series serves as a further example of Cunningham’s dedication to imaginative programming and outstanding period performance on this double CD placing her at the forefront of baroque research and recording. -
‘Cradling his programme of Sonatas in a set of strongly contrasted Variations and a Divertimento, Peter Donohoe takes an enlivening slant, a sense of ‘rediscovery’ of Haydn’s ambiguity, indeed, unique character’ - © Bryce Morrison. Recording instrument: Steingraeber (Bayreuth) Concert Grand Piano Model E at Steingraeber & Söhne - Klaviermanufaktur Since his success as joint winner of the 1982 International Tchaikovsky Competition, Peter Donohoe has gained international renown as one of the foremost pianists of our time, for his musicianship, stylistic versatility and commanding technique. "An arresting start to Peter Donohoe’s new series of Haydn’s complete keybard works on Signum Records...It’s a stunner" - Slipped Disc "Beyond dispute is that Donohoe is a highly intelligent, sensitive and sincere exponent, and if you like your Haydn virile and fuss-free, his approach may well be what you are looking for" - Gramophone "It is a balanced Haydn played with the subtleties that can be extracted from the instrument. The sound of the recording is deliberately kept spatially close and small, like in a chamber…a new view of these sonatas that is astonishing and one that one has to get involved with" - Piano News "With excellent sound courtesy of Mike Hatch...Donohoe gives consistently stylish and affectionate readings – shapely, nimble – of always-enjoyable and -resourceful music (154 minutes’ worth to ease the woes of the World) that makes for listening pleasure via an attractive piano of ideal lightness and clarity. Volume One is thoroughly recommendable...with successors keenly anticipated" - Colin's Column -
Rebecca Miller leads the Royal Northern Sinfonia in performances of three Haydn Symphonies. This new release follows Miller’s acclaimed recording of the works of CPE Bach with the Orchestra of the Age of Enlightenment. There is much to praise here - Early Music Review The grandeur of the work seems to suit Miller's imaginative approach, with some especially effective phrasing... These admirable performances make a worthwhile addition to the catalogue of the often-neglected middle-period symphonies - Gramophone The grandeur of the work seems to suit Miller's imaginative approach, with some especially effective phrasing - Gramophone -
The Gabrieli Consort continue their series of award-winning collaborations with the National Forum of Music, Wrocław, Poland with a new version of Haydn’s great oratorio The Seasons. Using a new performing edition by Paul McCreesh this recording is the first to feature the large orchestral forces that Haydn called for, including a string section of 60, 8 horns and a choir of 70. As well as the combined forces of the Gabrieli Consort & Players, Wrocław Baroque Orchestra and National Forum of Music Choir, the recording features solo performances from British singers Carolyn Sampson, Jeremy Ovenden and Andrew Foster-Williams. All booklet texts are printed in both English and Polish translations. -
Head Space: Candlelight is the first in The King’s Singers’ Head Space series, aiming to connect choral music with calmness and reflection. Inspired by compline, the Catholic night service, it features plainchant, including “In manus tuas Domine” and “Salva nos Domine vigilantes,” emphasizing breath-led pacing. The album also includes wordless Orlando Gibbons “Songs,” contemporary pieces by Anna Thorvaldsdottir, Judith Bingham, and Arvo Pärt, and the experimental “4’33”” by John Cage, concluding with Robert Parsons’ “Ave Maria” and Edvard Grieg’s “Ave Maris Stella,” all designed to create a contemplative atmosphere. 9/10 - “If you enjoy superlative a cappella singing the King's Singers are still up with the very best.” - CrossRhythms -
The King’s Singers return with a new early-music recording that features 12 of Giovanni Pierluigi da Palestrina’s beautiful polyphonic choral settings of the ‘Canticum Canticorum’ – better known as ‘The Song of Songs’ or Canticles, a collection of poetry in the Hebrew Bible on the theme of the joy and ecstasy of human love. These settings are framed by four of Palestrina’s Marian motets, works in honour of the Virgin Mary which he composed throughout his life. This recording is the first to feature performances from the group’s new tenor Julian Gregory. An admirably cool approach - The ObserverAt it's best - The King's Singers' sweetness of tone seems perfectly to match the sense of the text - Gramophone Wonderful music beautifully delivered - The Northern Echo They sing in a beautifully blended style with individual voices often subsumed into the overall sound image. These performances have a significant amount of surface polish, poise and style, technically they are very impressive - Planet Hugill Admirers of The King's Singers will certainly not be disappointed -MusicWeb International -
Following an acclaimed tribute album to Benny Goodman, the ‘King of Swing’, the Julian Bliss Septet returns with a new album that showcases the music of jazz legends, George and Ira Gershwin, and – by popular demand - some of Benny’s compositions and much-loved tunes. The Julian Bliss Septet was formed in 2010 and quickly became known for their trademark inspiring jazz-fuelled shows which have captivated audiences across the globe. Their dazzling virtuosity, extraordinary musicianship and charming humour shines through their programmes of swing, Latin, American and jazz music. The band has played at some of the most prestigious venues and festivals around the world, including the famous Ronnie Scott’s and Wigmore Hall in London, the Concertgebouw in Amsterdam, Bermuda Jazz Festival and on multiple US tours to sold-out clubs and concert halls including Dizzy’s Club at Jazz at Lincoln Center (New York). "From the fiery first number, the prodigious talents of Julian Bliss and this wonderful ensemble are on full display – song arrangements that work well, rock-solid time, an infectious rhythmic confidence from each member that drives the group, brilliant improvisation all around (here in the clarinet, vibraphone, trumpet and drums), Bliss’s gorgeous classical sound and an ensemble surety that is only attained through years of working together. These traits are a constant on each of the 12 tracks…this attractive disc is a must have for any jazz clarinetist or jazz consumer. Give it a try – you will not be disappointed" - The Clarinet -
Ian Venables’ reputation as ‘one of the finest song composers of his generation’ (BBC Music Magazine) finds voice in this disc of premiere recordings of two of his substantial song cycles. International baritone, Roderick Williams is joined by the Carducci String Quartet and pianist Graham J Lloyd in The Song of the Severn, a celebration of Venables’ home county of Worcestershire and The Pine Boughs Past Music, a poignant tribute to the poetic talents of Ivor Gurney. Other songs include those with solo piano and arrangements by Graham J Lloyd, for string quartet. Each work highlights Venables’ gift of being able to take poetry to a higher level of appreciation and at the same time create works of lasting beauty. Sharply memorable music of bewitching lyricism, idiomatic grace and rapt instinct - GramophoneThe Carducci String Quartet [are] exemplary in their interpretations - BBC Music Magazine -
When Michael Nyman started reinventing the English baroque back in the 1980s, one critic described the result as “pump-action Purcell.” This recording combines these two singular musical styles through the stunning voice of countertenor Iestyn Davies and viol consort Fretwork, serving as the bridge across three centuries. The programme combines bold harmonies, wondrous inventions, and melodies that will haunt your dreams – whether from the 17th century or the 21st. Recorded following a concert tour of the programme, the disc includes the premiere recording of a new commission from Michael Nyman, Music after a While – based upon Purcell’s song, or more particularly upon its strikingly original bass-line, with its insidious rising chromatics. ★★★★ A beautiful account - Planet Hugill Editor's Choice: The Nyman performances are exemplary – crisp and cleanly articulated from Fretwork and dispatched by Davies with a vacant, unrippled purity that is so essential to the music - Gramophone All executed with perfection - The Observer