In conjunction with its 30th anniversary, the Philharmonia Baroque Orchestra has launched its own recording label - cause for much rejoicing, as the first release showcases the late Lorraine Hunt Lieberson in a live 1995 recording of Berlioz’s Les Nuits d’été in addition to a live 1991 recording of arias from Handel’s Giulio Cesare, Ottone, Arianna, Radamisto, and Agrippina. The occasion for the Handel was a concert given in the First Congregational Church, Berkeley in preparation for a recording she was soon to make for Harmonia Mundi. The selection of arias is varied, from the drama of L’angue offeso mai riposa from Giulio Cesare to the calm stillness of the aria Vieni, o filglio from Ottone – one of the most haunting and moving performances I have ever heard. McGegan remarks in the booklet on the beauty of her voice and the deep passion she brings to her interpretations; allied to this is her ability immediately to inhabit the role of whatever character she happens to be performing, even in a succession of unrelated arias such as this. The Berlioz marks the first time she ever sang the full song cycle in performance, and McGegan admits to taking a ‘bit of a risk’ with it; it was the first time that the orchestra had attempted such late music. In truth, the orchestral playing is not especially idiomatic; the tuning takes a few bars to settle, and the balance at time over-favours the woodwind. But the singing is absolutely glorious – rich, fresh and sensuous, with excellent French pronunciation and capturing the essence of each song, from the knowing, carefree Villanelle to the ghostly Au cimitière. Her friend and colleague Stephen Wadsworth’s musings convey vividly the qualities of her singing: ‘The immediacy of her voice, her music-making of thrilling precision yet absolute freedom, in singing of shape-shifting colours and sounds which draw word and note, melody and harmony into a darkly-tinged, heat-seeking truth.’ There is little audience noise in the Berlioz, more in the Handel, and there are some odd echo effects, due presumably to the acoustic of the church. But these are small quibbles; to hear Lieberson in Berlioz and again in Handel is truly a gift from heaven.

Reviewed by Anne McAlister