R E V I E W S:

Although I recently welcomed Paul McCreesh's vital and robust account of Hail, bright Cecilia as the best available account of the marvellous celebratory ode, the reappearance of Andrew Parrott's 1985 version puts a slightly different complexion on things – though in an entirely positive way. Whilst McCreesh makes the score sparkle with his energetic view of tempos, vocal characterization and orchestral timbre, Parrott parades his smooth and integrated forces with less instant theatricality. Instead we have here a typically homogeneous and unfolding scenario: how organically and gently '''Tis Nature's voice'' emerges, with Rogers Covey-Crump expressing the passions with a wonderful air of mystery. So too, ''Soul of the world'' – what a transcendent concluding passage – which has never been bettered for atmosphere and clarity of ensemble. The solo singing here is good (there is some exquisite work from Emma Kirkby and from tenors Charles Daniels and Paul Elliott in ''In vain the am'rous flute'') but it is the delicacy of sentiment which complements McCreesh's more effervescent and lush reading.

-- Jonathan Freeman-Attwood, Gramophone [12/1995, reviewing the original CD release of the Parrott Hail, bright Cecilia, Virgin 545160]

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This is Handel at his very best, and I must withdraw my remark last November that only the first 10 minutes are not... [On this disc] the movement sounds delightful. Also the initial impact of the new recording is more agreeable, partly because of the better accoustics of King's College Chapel and partly because I do have days when, I must confess, I prefer modern instruments to 'old' ones. Ledger gets consistently beautiful playing from the English Chamber Orchestra—stylish and lively—and though once or twice I'd have liked more violins at choral climaxes, the smallness of the band is in general fully justified... Unlike last year's recording the new one has a second soprano soloist, and this is because Ledger includes the duet and chorus Handel tacked on at the end to make a comparatively short work a bit longer. The words come from a St Cecilia's Day ode of 1720 by Newburgh Hamilton, and they are poor things compared to Dryden's. However the duet is extremely pretty, and Helen Donath and Sally Burgess sing it enchantingly.

-- Gramophone [10/1979, reviewing the original LP release of the Ledger Alexander's Feast, HMV SLS5168]