Reviews
The Cambridge production ... in taste and style easily surpassed recent efforts by professional companies. (The Musical Times)
The Cambridge production was only the third since Handel's lifetime, and unquestionably the best. ... The principal virtue ... was the stylish approach on the part of both producer and conductor. (Opera)
This revival was in fact the first to represent the opera as Handel composed it ... The real discovery of the evening was Rosemary Joshua, in the soprano seconda donna role of Rossane: a singer with a natural grace and shapeliness of phrase, a true musician, expressive and communicative in all she does - we will, I am sure, see and hear much more of her. (Musical Times on Floridante)
Andrew Jones's biennial performances of Handel operas have now become something of a tradition, setting high standards of performance and scholarship and justifying his insistence on the benefits of translating the original Italian into English. The young professional soloists and a polished student orchestra gave as fine a performance of the opera as you might expect to hear anywhere. (Opera Now on Amadigi)
Ann Mackay was commanding in her presence and a joy to listen to, with gleaming tone, impeccable tuning and crystalline passage-work. (The Times Literary Supplement on Berenice)
Over ten years the Cambridge Handel Opera Group's biennial productions have become a major attraction for admirers of the composer: they are backed up by proper scholarship, strongly cast and staged with a nice balance of modesty and purpose. (The Times on Partenope)
The production by Richard Gregson tackled the complex scenic problems ... with imagination... Andrew Jones ... directed the proceedings confidently; he obtained remarkably assured playing from an orchestra of undergraduates who showed a greater understanding of the proper style than many professional ensembles... The cast was led by Ann Mackay as Alcina; she is an experienced Handel singer, and gave full power to the many great moments in this wonderful part... Kay Jordan as Morgana was a delight-her acting was just right, the voice and words were well projected, and her 'Tornami a vagheggiar' at the end of Act 1 was a virtuosic tour de force which brought the house down. (Opera on Alcina)
Admeto was magnificently taken by Catherine Griffiths, who cultivated the grand style of expression and acting without embarrassment, and gave huge dignity to the part. (Spectator on Admeto)
Working with modest means ... the Cambridge Handel Opera Group created a simple magic. The narrative flowed freely and dramatic momentum was well sustained ... (Opera on Orlando)
. the conductor Andrew Jones had a sure sense of the score, shaping the individual numbers with impressive style, security and pace . [The] orchestra . was alert and keen and wholly pleasurable. Kay Jordan . was . a joy to hear: glistening, full-bodied, and more interesting for the occasional blowsiness. I also enjoyed Susan Gilmour Bailey's Atalanta, which was bright, articulate and fun. (Opera Now on Serse)
. the drama came across well in Richard Gregson's poignant, stylised direction. Cameron Lawrence's largely minimal set was put to excellent use, subtly drawing on the persistent themes of imprisonment and freedom . Given the relatively small space at their disposal, Lawrence and his lighting designer, Alan Morgan, did remarkably well in creating the impression of Tamerlano's spacious palace, while simultaneously evoking the desired sense of intimacy between stage and audience. They were aided in this cause by Andrew Jones's impassioned yet precise musical direction, his sweeping, broad gestures bringing to the music a breadth which is often lost from Handel performances. . The cast was impeccable, demonstrating a keen awareness of Gregson's elegant, uncluttered direction . Lucy Taylor's forlorn Andronico took centre stage, her gentle, languid mezzo-soprano proving utterly captivating . Anouschka Lara sang beautifully throughout, fading to sensational pianissimos . Chaundy sang with due gravitas, his despair at his capture and eventual suicide proving truly affecting . (Opera on Tamerlano)