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Andrew Quint
Fanfare, September 2009

Swedish tenor Anders J. Dahlin renders the title role with a fresh, expressive, tonally alluring voice and Sine Bundgaard brings her flexible instrument to Amélite: listen to how easily she negotiates the Handelian divisions of her third act aria, “Sur nos coeurs épuise tes armes.” Dahlin and Bundgaard are exquisite together, as in “Pour la tête la plus belle.” …Anna Maria Panzarella sings the role to perfection. “Quel tourment!” which opens the final act, is a high point of her performance, as Erinice transforms from an icy, vengeful would-be murderer into a sympathetic, flesh-and-blood woman. …Singing Amélite’s friend and confidant, Céphie, is Ditte Andersen. She has a lovely, lithe soprano…

The period-instrument orchestra is quite accomplished. The electrifying violin passages accompanying Abramane’s act III “Osons achever de grands crimes” and the ensemble’s plangent winds—natural horns, wooden flutes, appealing opaque bassoons—are nicely captured in better-than-CD quality sound, both two-channel and surround. Leading the performance is Christophe Rousset, for years William Christie’s assistant and continuo-player, and his stylistic authority and dramatic instincts are never in question. © 2009 Fanfare Read complete review





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