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Marijana Mijanovic is impressive, with a full, flexible bottom-end to the range that puts plenty of counter-tenors to shame...she's able to knock out the more virtuosic arias with impressive... — Andrew McGregor, bbc.co.uk, 20th November 2003
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Contents
Alan Ewing (bass), Mirella Giardelli (harpsichord), Pascal Monteilhet (lute), Magdalena Kozená (mezzo-soprano), Marijana Mijanovic (mezzo-soprano), Jory Vinikour (harpsichord), Jean-Michel Ankaoua (baritone), Michel Maldonado (double bass), Guido Larisch (cello), Anne Sofie von Otter (mezzo-soprano), Bejun Mehta (counter-tenor), Charlotte Hellekant (mezzo-soprano), Pascal Bertin (counter-tenor) Les Musiciens du Louvre Marc Minkowski Recorded: 2002-11-26 Recording Venue: Vienna, Konzerthaus, Grosser Saal Show 80 remaining tracks for Handel: Giulio Cesare in Egitto Hide 80 tracks for Handel: Giulio Cesare in Egitto
Further Reading
Katherine focuses on the hugely prolific composer's stage-works in this week's Favourites.
20th November 2003
Marijana Mijanovic is impressive, with a full, flexible bottom-end to the range that puts plenty of counter-tenors to shame...she's able to knock out the more virtuosic arias with impressive fire. As Cleopatra, Magdalena Kožená is superb, with real beauty of tone and impressive ornamentation, never over-sentimentalising her romantic moments.
2010
As established in the Overture, Minkowski prefers speeds on the fast side, sometimes very fast, with playing clear and clipped...[Kozena's] is a commanding performance, deeply moving in her big lyrical numbers, V'adoro and Piangero, for which Minkowksi allows full warmth and tenderness at aptly spacious speeds. Marijana Mijanovic sings powerfully in the title-role
August 2014
There are so many fine Cesares on CD, but of the recent crop I return most often to Marc Minkowski's 2002 recording, with a young Magdalena Kožená crossing over into soprano territory most effectively as Cleopatra, and Anne Sofie von Otter and Charlotte Hellekant superb as the bereaved Sesto and Cornelia.
14th June 2008
On René Jacobs’s recording Barbara Schlick is bright and nimble. But for seductiveness and subtlety she is outclassed in this “live” 2002 recording from Vienna by Magdalena Kožená, who catches all the enchantment of the glorious “Parnassus” tableau. Kožená brings tragic intensity to her great laments “Per pietà” and “Piangerò”, using ornamentation to heighten the expression when the opening music returns.
