Search - George Frideric Handel, Nicholas McGegan, Philharmonia Baroque Orchestra :: Lorraine Hunt - Handel Arias

Possibly the most beautiful female voice of the generation

gks5q@virginia.edu | 04/23/1999

(5 out of 5 stars)

"Lorraine Hunt's voice is incredibly beautiful, and very recognizable. It is simply impossible to mistake her for anybody else. Her best register is mezzo, and she generally sings low-tessitura parts in which she can be very effective. Yet, her voice is not low enough (plus it is too feminine) in order to sing male roles convincingly. Unfortunately also, she has quite a bit of vibrato in her upper register where her voice can spread uncomfortably when pushed. Nevertheless, the sheer beauty of her timbre compensates for the occasional technical flaw. I enjoyed this disc, but I most cherish Lorraine Hunt's performances as Medee and Phaedra in two stunning recordings with Les Arts Florissants."

An Ode to Beauty and Artistry (Lorraine Hunt-Lieberson, 1954

The Cultural Observer | 07/06/2006

(5 out of 5 stars)

"I've been meaning to review this album for the longest time, but haven't because of my committments at work and other things. Lieberson's voice, in my opinion, is one of the most beautiful instruments of our generation. It is, unlike a certain Renaaay who tries to sing anything and everything as a huge, incoherent slur, a very beautifully and artistically sung Handel recital. The tone is simply magnificent! And no other Handelian artist has connected her singing of the role with a dramatic sense that is so acute as her performances of the role.



It is really sad to know that this great artist died of breast cancer two days ago in her home in Santa Fe, New Mexico. It was a big loss for the operatic world to lose such a beautiful instrument at such a young age. Lorraine Hunt-Lieberson will be missed."

Handel at his best

Stephen Hannaford | Near Philadelphia, USA | 12/09/2004

(5 out of 5 stars)

"Of all the wonderful (and not so wonderfil) Handel CDs I own, this is the one I return to over and over. The combination of musicianship, beauty of voice, and complete dramatic conviction makes this collection of (generally) very obscure arias a pleasure that intensifies with repeated hearing. Among the highlights: "Vieni o figlio" (from Ottone) which becomes, with Hunt's interpretation, one of the truly great arias of loss, a precursor of the great Romantic standards; "Angels, Ever Bright and Fair" (from Theodora), with unbelievable diction and sweetness, making Engish sound as beautiful as Itaian; and "Qual nave" (from Radamisto), again a miracle of delicate phrasing and conveyed deep feeling. But Hunt finds real meaning in all the songs -- she's never just vocalizing. Best of all is the way she manages to intensify meaning in the da capo section without excessive decoration."