This archival release of George Frideric Handel's baroque opera Alcina showcases an extraordinary historical performance brought to light by Deutsche Grammophon. Recorded under the precise baton of Ferdinand Leitner leading the early-music ensemble Cappella Coloniensis, this interpretation bridges the gap between historical performance practice and mid-century vocal brilliance. The legendary Australian dramatic coloratura soprano Joan Sutherland delivers a spellbinding performance in the title role as the enchantress Alcina, executing Handel's demanding, ornament-laden vocal lines with her trademark fluidity and effortless upper register. Performing alongside her is the celebrated German lyric tenor Fritz Wunderlich, whose portrayal of Ruggiero provides an ideal balance of heroic dramatic power and elegant lyricism. Backed by a stellar supporting cast including Norma Procter, Jeannette van Dijck, Nicola Monti, and Thomas Hemsley, the production captures the vibrant intensity and deep emotional core of Handel's complex score. This recording stands as an invaluable and compelling historical testament for opera connoisseurs and classical music enthusiasts alike.

This imaginatively-curated, generously-filled Christmas package is sure to find favor during this and future holiday seasons. Why? Because it packs in every conceivable carol, tune, choral work or song in timeless performances from the greatest artists in the world: singers of immense communicative gifts including Cecilia Bartoli, Bryn Terfel, Renee Fleming and Luciano Pavarotti to name but four. It truly offers something of every Christmas mind, spirit, and looks fantastic.

Of the rarities presented in this unusual Russian music collection, the most tantalizing is Gliére’s Concerto for Coloratura Soprano and Orchestra. Judging by the slight surface noise, it sounds as if this transfer could have been made from an LP. No matter, the sound is fine, and Joan Sutherland sings radiantly, pouring out beguiling tone throughout her range, while her trademark trills are put to good use by Gliére’s vocal writing, which isn’t particularly original, especially considering it was composed in 1943. The same can be said for Gliére’s 1938 Harp Concerto: beguiling solo writing set against standard-fare 19th-century orchestral accompaniment.

Sutherland's singing here is brighter and fresher than her earlier recording, with the lovely aria 'Qui la voce' no longer a wordless melisma…The recording is vivid and atmospheric and one marvels at Bellini's gorgeous melodies…with Sutherland, Bonynge and all on electrifying form.

When Haydn first came to London in 1791 he was recognised as one of the greatest composers in the world, but his extensive operatic output was essentially unknown outside Eszterháza, where the works had originated. He was commissioned to produce a new opera to celebrate the opening of the King’s Theatre in the Haymarket, but political intrigue prevented its production. Although the resources in terms of orchestra and chorus (particularly in the final Underworld act) were far greater than anything he had known in Hungary, Haydn seems to have been unworried by the fracas, since his generous fee was already in his bank in Vienna, and his concerts were proving an outstanding success. But he never composed another opera. The official title, L’anima del filosofo, seems to have been a half-hearted attempt to distinguish it from the successful Gluck version of Orfeo.

Francesco Cilea’s most popular work is based on the 1849 play by Eugene Scribe and Ernest Legouvé. Adriana Lecouvreur is a star of the stage who could seemingly have any man she desires, but when she falls hopelessly in love with the Count of Saxony, she discovers he's already been promised to the Princess of Bouillon, leading to a battle of wills between them. Filmed in 1984 at Sydney Opera House.

It seems incredible that a singer of Heldentenor quality like Vickers could sing so stylishly in Handel, with elaborate divisions perfectly executed. Not only that, his portrayal of Samson is deeply moving, thanks to vocal acting over as wide tonal and dynamic range.

Lucrezia Borgia is a lyrical masterly example of Donizetti's art that delights the ear endlessly… Sutherland made the low key arias breathtaking vehicles for the most ravishing singing one is likely to hear on any opera stage in the world.

Marie, found abandoned as a baby on the battlefield, was adopted and raised by soldiers. She is the darling of the regiment. When the Marquise of Berkenfield tells the Sergeant that Marie is actually her niece and she must leave the regiment, the troops are heartbroken. The Marquise plans to educate and marry Marie in a manner befitting a lady of quality, but Marie wants only to return to her regiment and the man she loves.

Rodelinda stems from a period of great creativity in Handel’s life, 1724-25, following hard on Giulio Cesare and Tamerlano. Although it met with only moderate success. One of its first revivals was via the German Handel Society in the 1920s, and then the Handel Opera Society revived it again, with a cast including Joan Sutherland, during the 1959 celebrations of Handel’s bicentenary. It was one of Sutherland/Bonynge’s later Decca operatic collaborations (1985) and their only Handel opera they recorded together.

This is an interesting pre-authentic performance of Handel's odd masterpiece, an opera that has not done well on CD. Years ago, a severely cut, peculiarly cast Sutherland/Bonynge set appeared on London (Decca); this current performance, which has been around for a long time (and is available on other labels as well), dates from 1959. The orchestra is reduced, harpsichord is prominent, embellishments are added to the vocal line, and in general, aside from a slight heaviness in approach, there is little to be ashamed of. Some arias are cut or cut in half, but the spirit of Handel is present–and besides that, fans of either Sutherland or Janet Baker, both caught here so early in their careers that they were not even vaguely famous, will have to hear them. And they impress: Baker sounds far lighter than she later did but exhibits the same wonderful musicality and impeccable diction, and Sutherland's fresh voice, flawless technique, and yes, fine enunciation of the text are delightful.

In tradition of grand opera, Dame Joan Sutherland's farewell performance to the operatic stage in Giacomo Meyerbeer's Les Huguenots is a gala triumph of spectacle, pageantry, and drama. This technically complex production captures the horror and tragedy of the St. Bartholomew's Day massacre, as well as the splendor and romance of 16th century France. Sutherland's glorious soprano voice is just one of the many brilliant highlights of this acclaimed performance, a revival of director Lotfi Mansouri's highly praised 1981 production. Often referred to as "The Night of the Seven Stars," Les Huguenots is a demanding production that requires the presence of seven major talents to sing the lead roles. For this reason, it is not often performed, but it is a most fitting end to the career of "La Stupenda," one of opera¹s brightest stars.

Sutherland is predictably impressive. Her 'O beau pays' is thrillingly done…with much attention to detail. Tourangeau as the page is another highlight…This is by far the most successful recording of this work and with a brilliant recording to match the ambitions of the project.— Penguin Guide

This set is what early music or baroque opera purists might call politically incorrect. The orchestra at Venice's La Fenice is too big, the playing is Romantic, with plenty of rubato and not crisp, and very few of the singers get through the music as Handel wrote it or embellish it the way he wished. But it does feature Joan Sutherland at her most amazing. Her huge voice, pure tone, impeccable technique, seamless legato, and glorious ease are the definition of bel canto. While this two-CD release is not ideal, it does present Alcina in much of its loveliness.