This album of Handel vocal selections should delight the listener with its clear, bell-like soprano and its period orchestra, its Handelian melismas and reverential songs to God. Soprano
Dorothea Craxton sings with such a beautiful, creamy sound and smooth technique that one does not hear her breaths. However, this album disappoints for the sole reason that the recording quality is off-balance, often relegating
Craxton to sound like a member of the ensemble as opposed to soloist (or being overpowered by one of the ensemble). Sadly, this diminishes the listening experience, but there is still much to comment on positively. The album features two sets of songs, nine German arias and the Gloria. No. 3, "Süßer Blumen Ambraflocken," shows
Craxton's ability to shape phrases carefully, making the voice like an early violin with a minimum of vibrato and a smooth sound. "Et in terra pax" shows off a voice so even and consistent that it is almost unhuman in its perfection, accompanied by a slow and stately ensemble playing an accompaniment like a procession: it is absolutely soul-soothing music.
Craxton's melismas are sung with great control in No. 6, "Meine Seele hört im Sehen," as one can hear in the words "alles jauchtet," whereas they sound slightly more choppy in No. 2, "Das zitternde Gläzen der spielenden Wellen." The ensemble does indeed play beautifully, on every instrument, and some examples of its talents are the introduction with organ on No. 8, "In den angenehmen Büschen," the sweet gravity of the string interlude in No. 4, "Süße Stille," which does truly create a sense of Stille. They shine in the sprightly courtly dance rhythm of No. 5: "Singe, Seele, Gott zum Preise," and understand the music and what each piece, each mood requires. It is a musically keen orchestra, and it is a shame it is put to compete for attention with the soprano. One can only hope for the possibility of remastering the album so as to render the artists their due and proper balance.