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Henry PURCELL (1659-1695)
The Purcell Edition 2 - Theatre Music
Track-listing at end of review
Monteverdi Choir, Monteverdi Orchestra, English Baroque Soloists/John
Eliot Gardiner Lynne Dawson, Rosemary Hardy, Gillian Fisher, Dinah
Harris, Jennifer Smith, Dawn Upshaw (sopranos)
Carol Hall (mezzo)
Ashley Stafford (counter-tenor)
Rogers Covey-Crump, Paul Elliott, Martyn Hill, John Elwes (tenors)
Stephen Varcoe (baritone)
David Thomas, Roderick Earle, Michael George (basses)
rec. Henry Wood Hall, London, February 1979 (The Indian Queen, The
Tempest), Rosslyn Chapel, London, December 1987 (Timon of Athens,
Dioclesian), Air Studios, London, January 1995 (The Married beau,
Abdelazer), American Academy of Arts and Letters, New York, April
2000 (Music for a while, Ah! How sweet it is to love, If music
be the food of love). DDD
WARNER CLASSICS & JAZZ 2564 691990 [4 CDs: 62.41 + 61.53
+ 52.47 + 70.08]
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The first CD on this four-disc set of Purcell’s music for theatre
features The Indian Queen – of which John Eliot Gardiner produces
a good sprightly performance – bright, purposeful and spirited
– a promising start. The Tempest, however, on the next disc,
is less impressive. Rather on the heavy side, the orchestral
playing here is too measured, deliberate and dull – lacking
in subtlety. The lack of fluidity in the performance is exemplified
by the ponderous quality and laboured feel of movements such
as Halcyon Days, now wars are ending, you shall find wheree’er
you sail. In fact, we only really get some light and shade in
an otherwise monochrome performance at the very final movement,
No stars again shall hurt you from above, which is beautifully
characterful. Mezzo-soprano Carol Hall’s Ariel is very pedestrian
– not at all ethereal or sprightly, and it sounds as if she
were sight-reading the part rather than performing and communicating
it – mechanical and studied, emotionless and rather lacklustre,
with no characterization. David Thomas and Roderick Earle are
far more believable as the Devils – excellent performances from
these two basses. The second disc ends with two fillers, the
Overture from the comedy The Married Beau and the Rondeau from
Abdelazer, or the Moor's Revenge (best known from Benjamin Britten’s
Young Person’s Guide to the Orchestra). It is rather disappointing
that these two movements alone from these works are included
here.
Disc 3 presents a lively performance of Timon of Athens, with
all soloists on top form - although I found Gillian Fisher a
little light-weight in her roles here. The first three Acts
of Dioclesian complete disc 3 and fill most of disc 4.
The opening I found rather on the slow side – the First Music
too measured and plodding, although the Second Music
and Third Music are brisker. The soloists are again on
typically good form, although Stephen Varcoe occasionally comes
across as a little reserved and distant. Rogers Covey-Crump
is superbly expressive as a Follower of Cupid – although sometimes
(as in Still I’m wishing, still desiring) his performance
is a little on the fussy side, and the trio in Act II (Michael
George, Stephen Varcoe and Paul Elliott) is outstanding – beautifully
articulated. Lynne Dawson is also excellent – wonderfully flexible
and bright, and whilst Gillian Fisher is more measured (sometimes
a little too much so), these two sopranos together are exceptional
– perfectly phrased and beautifully blended (as in the Act V
Masque Ah! The Sweet delights of love). Some of the purely
orchestral sections are also very good – such as the Act Five
Passepied and later Dance. Tempi seem appropriate
and sensible, and I especially liked the subtle rhythm changes
in Make Room, make room for the great God of Wine. This
final disc concludes with three familiar and much-loved songs
as fillers - Music for a while, Ah! How sweet it is to love
and If music be the food of love. Dawn Upshaw is the
excellent soprano here, accompanied by sensitive Arthur Haas
on harpsichord and Myron Lutzke on cello.
As a general rule, Gardiner does not achieve the same heights
of tension, intensity and passion that others - such as Alfred
Deller and Consentus Musicus - do, and he doesn’t seem to bring
out the best in his soloists; even such top singers as Stephen
Varcoe and Rogers Covey-Crump are slightly disappointing. The
booklet notes also leave something to be desired – they are
neither terribly full nor particularly clear. All in all, therefore,
a rather mixed set – with some superb moments, but some others
that are slightly below par, prevent me from whole-heartedly
endorsing this set.
Em Marshall
Track-listing
CD 1
The Indian Queen [62.41]
CD 2
The Tempest [57.37]
The Married Beau: Overture [2.42]
Abdelazer, or the Moor's Revenge: Rondeau [1.34]
CD 3
Timon of Athens [22.10]
Dioclesian Acts I-III [31.39]
CD 4
Dioclesian Acts III-V [60.09]
Music for a while [3.20]
Ah! How sweet it is to love [2.51]
If music be the food of love [3.51]
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