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) ...
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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...
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