Handel Arias
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Composer: George Frederick HandelConductor: Thomas Dunn
Performer: Russell Oberlin
Performer: Albert Fuller
Orchestra: Baroque Chamber Orchestra
Edition: Music CD
CD Release Date: 2007-03-13
Music Label: Deutsche Grammophon
Free Music Notes for Handel Arias
Free Music Review: Higher and higher
Hit: 5 Stars
Oberlin's voice truly has a tone color unlike any other singer I have ever heard. His clear enunciation, massive range and excellent choice of repertoire make this album a must-have for those with an interest in uniquely high male voices such as the American Michael Maniaci.
This album also provides food for thought for the debate that has surrounded the use of the term "countertenor". It has been a subject of much debate whether Oberlin himself used a "chest voice" "mixed voice" or "falsetto voice" to sing.
When listening to this album, I suggest taking no judgement on the technique used by Oberlin to produce his voice, but simply listening to the pleasant singing that he has recorded.
A. Beattie 2008
Handel Arias Poster
Five decades ago, when Alfred Deller was trailblazing for the countertenor voice in Britain, Russell Oberlin was doing the same thing in America. Oberlin doesn't sound anything like what we expect from a countertenor. Rather than a velvety alto, his is actually a piercingly sweet tenor timbre, but generally "sitting" at least a fourth higher than the typical lyric tenor. He gets a little reedy at the very top, but he has fine flexibility (listen to the coloratura in "Vivi tiranno" from Rodelinda, sung in rather too "polite" Italian), and he caresses legato passages with expert control (in, for example, an exquisite "Thou shalt bring them in" from Israel in Egypt). Stylistically we've come a long way since Oberlin; there are some scooped attacks and swoopy phrasing, while ornamentation is often musically awkward and, in one instance, downright outrageous (the cadenza concluding Radamisto's "Ombra cara"). Also, although he's a fervent interpreter, genuine dramatic fire isn't Oberlin's to give. Still, the singing here - particularly the more plaintive arias - gives considerable pleasure. The orchestral accompaniment is very much of its time, grand-toned and stodgy. Fine sound, but no texts and only a brief program note. --Roger PinesClassical Music CDs
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