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Few words can describe the musical feast that makes this recording one of the most important releases from Decca for some time. Rinaldo, Handel's first London opera, has sadly lapsed into unfamiliarity in recent years and, despite a number of recordings of its more famous arias, no full production of the opera has appeared on disc since Claude Malgoire's Sony release in 1977. Combining an imposing line up of singers with the talents of the Academy of Ancient Music makes this a more-than-impressive undertaking, possibly one that is more effectively attempted on recording than on stage: the magical effects and transformation scenes make its staging as complex today as it was at the time of its first performance in February 1711, which then included mountains, waterfalls and even a flock of sparrows and chaffinches. With an orchestra that was more varied and colourful than ever seen previously in London, employing four trumpets, three recorders for birds and a star cast that included the castrato, Nicolini, the opera ran for fifteen nights to full houses. It is appropriate, therefore, that for this first recording of its original version an equally starry cast is employed. Of these, both Daniels and Bartoli provide more than impressive performances as Rinaldo and his lover: Daniels' voice, although not large and somewhat lacking in heroic qualities (check out his anger at being summoned to Armida's presence in Act II), is nevertheless impressive in its depth, expression, clarity and technical assurance. Bartoli is equally striking; her technique is nothing short of virtuoso. In places, her sense of the dramatic is slightly distorted and comes into conflict with the quiet dignity displayed by most of Handel's heroines. This is especially noticeable in 'Lascia ch'io pianga', where a more reserved approach would be welcome. Similarly, the remainder of the cast is equally impressive in its strength and dynamicism: Daniel Taylor handles finely what is the opera's least successful part: 'Siam prossimi al porto', which opens the second act, is beautiful in its lyricism, warm tone and control, but there are places where his dramatic qualities are a little too aloof for my liking. Bernarda Fink provides an interesting, although at times underplayed, Goffredo. The warmth of her voice does not go amiss, especially in 'Sorge nel petto', where its timbre is ideally suited to the quiet affectation of the music. Gerald Finley's bumptious Argante, King of Jerusalem and lover of Armida (played by Luba Orgonasova), is a part that the listener can fully delight in; he savours the role thoroughly, especially when he blurts out his love to the disguised Armida, mistaking her for Almirena at the end of the second act: his blundering gives rise to the whole gamut of emotions, which, deftly delivered, twist their way through the narrative and provide ample preparation for Armida's ensuing invective. Unfortunately, this is the only place in the opera where Orgonasova allows Armida's fearful nature to emerge; elsewhere her understatement of the character is somewhat disappointing and Armida's truly hateful character fails to impress. The Academy of Ancient Music is, as usual, on good form and, under the direction of Christopher Hogwood, provides an ample accompaniment; worthy of particular note is Paul Nicholson, whose obbligato performance in 'Vo' far guerra' on the harpsichord is nothing short of spectacular. Overall this is a well-performed and well-engineered recording with an excellent cast and superb musical direction. It cannot be recommended highly enough.
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