Victoria de los Angeles sings Baroque & Religious Arias

Editorial Reviews

All Music Guide - James Manheim
This delightful group of recordings by the young Victoria de los Angeles ought to find listeners beyond the group of operatic collectors at whom it is primarily aimed. Made between 1950 and 1964, they remained mostly unreleased for various reasons. The 1964 group, conducted by Yehudi Menuhin, was rejected because of the obvious struggles faced by EMI's engineers working in London's freakishly reverberant Temple Church -- the two Bach cantata arias here sound as though they are being played on the sound system of a public swimming pool. The sound is just as bad on the 1950 "V'adoro, pupille," from Handel's "Giulio Cesare," originally released as part of a series covering ...
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2006-10-10 Audio CD New YOU are buying a NEW SEALED CD! ! All CD orders sent via FIRST CLASS MAIL Service arriving in 3 to 5 business days in the United States only, Overseas ... orders may take up to 4 weeks! Buy it NOW! ! Read more Show Less

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Editorial Reviews

All Music Guide - James Manheim
This delightful group of recordings by the young Victoria de los Angeles ought to find listeners beyond the group of operatic collectors at whom it is primarily aimed. Made between 1950 and 1964, they remained mostly unreleased for various reasons. The 1964 group, conducted by Yehudi Menuhin, was rejected because of the obvious struggles faced by EMI's engineers working in London's freakishly reverberant Temple Church -- the two Bach cantata arias here sound as though they are being played on the sound system of a public swimming pool. The sound is just as bad on the 1950 "V'adoro, pupille," from Handel's "Giulio Cesare," originally released as part of a series covering the history of music. And conductor Adrian Boult put the kibosh on some 1959 recordings of Handel arias because he was dissatisfied with the Handel edition used -- the swoops and slurs marked in the strings made Handel sound like a member of the modern British pastoralist school. None of this matters too much when the voice of de los Angeles takes wing. Some of the material here was unusual fare for a soprano recital in the 1950s and 1960s -- Mozart's "Exsultate, jubilate" and "Laudate Dominum" from the "Vesperae solennes de confessore, K. 337," have been soprano showpieces for a long time, but Handel and Bach were the less often heard from contemporaries of de los Angeles. She embraces the material enthusiastically, never overwhelming the small groups accompanying her -- the Menuhin-led Bath Festival Orchestra has the organic feel of cooperation with the singer that was lacking in so many Baroque recordings from those days. And the arias have been very nicely selected by the producers from the Testament label. They are mostly not high-octane display pieces but rather lyrical, pastoral tunes, and they showcase the particular beauty of the de los Angeles instrument at this point: her sound was sweet, beautifully supported, and filled with subtle, ingratiating inflections of tones that carry tension after the buildup of a long, deliberate line. She combined such beauties with a strong response to texts, whether sacred or speaking of a spirit flying high in love. The Mozart "Laudate Dominum" track 7 is especially nice, and the listener can sample it for a taste of the liquid sweetness that threads its way through the sonic obstacles of this release.
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Product Details

  • Release Date: 10/10/2006
  • Label: Testament Uk
  • UPC: 749677108823
  • Catalog Number: 1088

Tracks

Disc 1
  1. 1 Exsultate, jubilate, motet for soprano & orchestra, K. 165 (K. 158a) - Wolfgang Amadeus Mozart & Adrian Boult (15:32)
  2. 2 Ch'io mi scordi di te...Non temer, amato bene, recitative and aria for soprano, piano & orchestra, K. 505 - Wolfgang Amadeus Mozart & Adrian Boult (11:22)
  3. 3 Acis and Galatea, oratorio, HWV 49: As when the dove laments her love - George Frideric Handel & Adrian Boult (8:00)
  4. 4 Judas Maccabaeus, oratorio, HWV 63: So shall the lute and harp awake - George Frideric Handel & Adrian Boult (4:25)
  5. 5 Giulio Cesare in Egitto, opera, HWV 17: V'adoro, pupille - George Frideric Handel & Stewart Brown (4:37)
  6. 6 Ave verum Corpus, motet for chorus, strings & organ, K. 618 - Wolfgang Amadeus Mozart & George Thalben-Ball (2:33)
  7. 7 Vesperae solennes de confessore for soloists, chorus & orchestra, K. 339: Laudate Dominum (Psalm 117) - Wolfgang Amadeus Mozart & Bath Festival Orchestra (4:17)
  8. 8 Laudate Pueri Dominum, psalm, for soprano, 2 violins & continuo in F, HWV 236: Sit nomen Domini - George Thalben-Ball & George Frideric Handel (3:02)
  9. 9 Cantata No. 68, "Also hat Gott die Welt geliebt," BWV 68 (BC A86): Aria: Mein gläubiges Herze - Johann Sebastian Bach & Bath Festival Orchestra (4:09)
  10. 10 Cantata No. 199, "Mein Herze schwimmt im Blut," BWV 199 (BC A120): Choral: Ich dein betrübtes Kind - Johann Sebastian Bach & George Thalben-Ball (2:31)
  11. 11 La procession: Dieu s'avance à travers les champs!, for voice & orchestra (or piano), M. 88 - César Franck & Bath Festival Orchestra (5:23)
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Album Credits

Performance Credits
Victoria de Los Angeles Primary Artist
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