Handel's Orlando, 2016

New York Classical Review

"Like a globe-travelling relative who returns bearing marvellous gifts, The English Concert continues to appear at Carnegie Hall bearing one gorgeous Handel opera after another...The English Concert will return in April of next year, with [Ariodante]. After Sunday, it seems cruelly unfair to have to wait that long. " 

For the full review, please follow the link: Orlando - New York Classical Review    

The New York Times

"An eager audience packed Carnegie Hall for a concert performance of "Orlando" on Sunday afternoon. The esteemed period orchestra The English Concert, with the conductor Harry Bicket leading from the harpsichord, gave an eloquent and affecting rendition with five impressive singers... Mr. Bicket and his ensemble, who won many admirers two years ago with Handel's "Alcina" at Carnegie, did not disappoint this time. " 

For the full review, please follow the link: Orlando - The New York Times    

The Telegraph

"An utterly heavenly Orlando...When these five wonderful voices combined for the final chorus, I thought I had gone to heaven...Here, in any case, was a superb performance tat left the audience glowing with pleasure. Unobtrusively yet firmly overseen by Harry Bicket, leading the spritely English Concert from the harpsichord." 

For the full review, please follow the link: Orlando - The Telegraph                        

Financial Times

"Under Harry Bicket's lively direction, each instrumentalist played as though personally responsible for the entire show, wringing out every ounce of drama: at one point during Act II, the cellos unleashed such a torrent of fury that they threatened to upstage the cast." 

For the full review, please follow the link: Orlando - Financial Times 

The Times

"It was performed exquisitely by Harry Bicket, The English Concert and a quintet of singers that it would be hard to surpass." 

For the full review, please follow the link: Orlando - The Times 

Opera Today

"The listener could just sit back and bask in the assured precision and shimmering sounds of The English Concert. Consistent with the emotion-driven plot, the musical story-telling was inwardly sensitive rather than ostensive. Dramatic eloquence emerged from the disciplined and meltingly beautiful playing, such as in Dorinda's sad nightingale aria "Quando spieghi I tuoi tormenti", where the laden rest suggested suppressed sobs. Such refined expression is impossible without soloists to match and all five were on a par with the orchestra." 

For the full review, please follow the link: Orlando - Opera Today    

The Independent

"Under Harry Bicket's direction the variegated beauty of the score is brilliantly brought out: with its outstanding home-grown soloists, this period band is at the top of its form, while the procession of arias, duets, and trios yields one delight after another." 

For the full review, please follow the link: Orlando - The Independent 

Evening Standard

"Passion, enchantment, madness: all the ingredients Handel needed to make Orlando one of his most individual and poignant operas...Both conducting and playing were first-rate throughout." 

For the full review, please follow the link: Orlando - Evening Standard          

Opera Today

"Harry Bicket and The English Concert were joined by a splendid cast of five young singers, including a trio of Americans, for a 'concert' performance which was musically compelling...The players of The English Concert provided a buoyant, vibrant accompaniment...This exceptional performance certainly followed the 'Right Way' and insinuated its impression into this listener's heart." 

For the full review, please follow the link: Orlando - Opera Today 

Opera Britannia

"Accompanying the magic of the evening, The English Concert demonstrated crisp articulation in the second section of the overture, and were effectively wispy sounding in the fleeting gigue...Through out, the group lived up to their high standards and never overpowered the voices or attempted brash theatrical effects as increasingly seems the fashion for period orchestras. They played the music sensitively and under conductor Harry Bicket contributed to a highly successful performance."

For the full review, please follow the link: Orlando - Opera Britannia 

Planet Hugill

"Throughout Harry Bicket and The English Concert gave us a fine account of the score. Bicket's encouragement of quite a strong bass line in the music worked wonders for the sound, and there were some lovely solo moments from oboes and flutes as well as the two violas. Overall this was a profoundly beautiful performance with some really magical singing from a wonderfully balances cast." 

For the full review, please follow the link: Orlando - Planet Hugill 

Der Neue Merker

"The well balanced cast was accompanied by Harry Bicket and The English Concert, who rounded off this 'British' Handel exegesis excellently. Bicket balanced a finely detailed and energetic emphasis between love poetry and abrupt delusion - the orchestra played with a catchy, slightly arid brushed up sound." 

For the full review, please follow the link: Orlando - Der Neue Merker 

Elizabeth Watts Con eco d'amore (CD release)

The Independent

"Here given new life with the envigorating English Concert, skittering firework displays alternate with soulful contemplations in a programme full of surprises."

For the full review, please follow the link: Con eco d'amore - The Independent

The Sunday Times

"Her glowing timbre is perfectly suited to the intensely expressive pieces, and the brilliance of her coloratura in the virtuoso numbers thrills....The English Concert play with verve and warmth."

For the full review, please follow the link: Con eco d'amore - The Sunday Times

The Observer

"Golden-voiced soprano Elizabeth Watts has spent the past few years unearthing neglected arias by Alessandro Scarlatti...she's come up with a delicious selection...[some] dangerously difficult; others sweetly placid and beguiling...Watts just about gets way with the spectacular pyrotechnics but is most affecting when Scarlatti takes his foot off the accelerator."

For the full review, please follow the link: Con eco d'amore - The Observer

Iestyn Davies - Wigmore Hall Season Opening

The Guardian

"The impeccable Handelian's immaculate technique enabled him to deliver bravura arias with almost understated ease, and he was even more remarkable in the slower numbers...Finely focused playing, with bags of energy and an admirable sensuousness of tone."

For the full review, please follow the link: Iestyn Davies - The Guardian    

Music OMH

"With the 17 players of The English Concert displaying their superb Baroque credentials in every bar, under the inspired baton of Harry Bicket, Davies was afforded the perfect support required to allow his glorious voice to soar."

For the full review, please follow the link: Iestyn Davies - Music OMH 

Being Both 2015

The New York Times

"Whether it was with the tenderness of “Scherza infida” from “Ariodante” or the convulsive excitement of “Dopo notte” — a showstopping performance — she held the audience spellbound."

For the full review, please follow the link: Being Both - NYT

The Telegraph

"Harry Bicket and The English Concert’s neat, steady accompaniment ... flashes of beauty and insight emerged throughout."

For the full review, please follow the link: Being Both - The Telegraph


"Harry Bicket was superb, delicately reaching for every nuance and shimmer of this superb music and coaching a delicious performance out of The English Concert, they were on top form and electrified the auditorium from the off".

For the full review, please follow the link: Being Both - Gscene

The Arts Desk

"The English Concert, under Harry Bicket, matched Coote step-for-step during the more vivacious passages, and the delicate solos – the bassoon of “Scherza infida” for example – were also exquisitely phrased and beautifully pure".

For the full review, please follow the link: Being Both - The Arts Desk

Lewes Classical

"The English Concert, on stage in the middle of the action, played with exquisite variety of tone colour and impeccable intonation and ensemble. Several of the instruments performed from memory, interacting on stage as soloists with Ms Coote."

For the full review, please follow the link: Being Both - Lewes Classical

The Argus

"On stage with Coote the orchestra was mesmerizing".

For the full review, please follow the link: Being Both - The Argus

The Latest

"Alice Coote can sing through anything. Harry Bicket and The English Concert collaborated in perfect style."

For the full review, please follow the link: Being Both - The Latest

Concert Versions Take Opera to a More Personal Level

“Now we go there every year, and our concerts sell out,” Mr. Bicket said. “The idea that you can sell out Carnegie Hall with a concert version of a Handel opera is crazy. It wouldn’t have happened 15 years ago.”

For the full article, please follow the link: Harry Bicket - The New York Times

The beauty of Buxtehude: how music can capture the spirit of Easter.

"..the power of making the biggest impact with the smallest gesture.."

"They also embrace the notion of overcoming a fear of death, in all its macabre forms and with all the pain and suffering connected to it, and of accepting one’s destiny with hope and a sense of peace. "

For the full article, please follow the link: Harry Bicket - the Guardian 


The Telegraph

"vividly supported by the orchestra under Harry Bicket, who offered brilliantly virtuosic and dramatically engaged accompaniment throughout."

For the full review, please follow the link: Hercules - The Telegraph

The Evening Standard

"Harry Bicket lashed his English Concert to fury, but paced the entire performance faultlessly."

For the full review, please follow the link: Hercules - The Standard

The Guardian

"This Barbican concert performance under Harry Bicket nevertheless made an outstanding case for the work’s dramatic qualities, which were vividly underlined by both cast and conductor."

"The choir and orchestra of The English Concert were on impeccable form under Bicket, with high-definition articulation and tonal quality underlying everything they did"

For the full review, please follow the link: Hercules - The Guardian

The Times

"Harry Bicket and the English Concert brought fleet tempos and gutsy articulation to this zinging score and the ensemble’s choir impressively belted out the zesty choral numbers — some of Handel’s best."

For the full review, please follow the link: Hercules - The Times 

The Spectator

"...Bickett and the orchestra matched every nuance of ‘Where shall I fly?’, the playing of continuo cellist Joseph Crouch unfailingly intelligent and expressive."

For the full review, please follow the link: Hercules - Spectator


"In this performance from The English Concert, directed by Harry Bicket, the sheer extent to which the characters do not move in straight lines was revealed by the superb cast."

For the full review, please follow the link: Hercules - Music OMH

The Financial Times

"Hercules is a long haul but Bicket and his ensemble - sounding elegant and refined but deliciously teasing at times - kept energy levels high over the course of three hours."

For the full review, please follow the link: Hercules - FT

The Observer

"But that's not to say that drama is entirely absent; far from it, when it is performed with the commitment of director Harry Bicket, a stellar cast of energetic soloists and the pungent playing and singing of The English Concert orchestra and choir."

For the full review, please follow the link: Hercules - The Observer

Opera Britannia

"The English Concert under Harry Bicket played stylishly, with crisp string playing in the overture and a frothy lightness in the fugal second section"

For the full review, please follow the link: Hercules - Opera Britannia

Classical Source

"All the elements of Handel’s overlooked masterpiece were marvellously served here."

For the full review, please follow the link: Hercules - Classical Source


"The English Concert played beautifully throughout the evening, with glowing tone and expert phrasing from Harry Bicket, who conducted with his characteristic natural feel and forensic precision."

For the full review, please follow the link: Hercules - Bachtrack


Classic FM top musical moments 2014

"A breathtaking interpretation of Purcell's popular opera, performed to a full house at the Bristol Old Vic."

For the full review, please follow the link: Dido and Aeneas - Classic FM


The Times

"If I live to be 180 I will never discover all the glories of the baroque. Who had heard of Count Unico Wilhelm van Wassenaer (1692-1766) before the English Concert (★★★★☆) and Harry Bicket introduced us to his delightful Concerto Armonico No 6 in their Spitalfields Winter Festival concert?"

For the full review, please follow the link: Bach at Christmas - Times 

The Guardian

"Bicket unwrapped a musical surprise, too, in the shape of a concerto for four violins by the mysterious Dutch diplomat-composer Unico Willem van Wassenaer, some of whose work was for many years attributed to Pergolesi, no less. The playing, with Matthew Truscott’s violin always eloquently at the forefront, was ravishingly good."

For the full review, please follow the link: Bach at Christmas - Guardian


New York Times 10 Best Classical Events of 2014!

"The English Concert, the acclaimed period instrument ensemble, with Harry Bicket conducting, presented an elegant, dramatically riveting concert performance at Carnegie Hall, with a splendid cast headed by the superb mezzo-soprano Joyce DiDonato in the title role."

For the full review, please follow the link: Alcina - NYT

Best of 2014: Opera | The Arts Desk

"Done right, however, it can be transcendent – the purest and most essential dramatic reading of a score. And it was so when Joyce DiDonato joined forces with the English Concert to bring a super-starry performance of Handel’s great(est) opera to the Barbican."

For the full review, please follow the link: Alcina - Artsdesk 

New York Classical Review

"The English Concert’s accompaniment was exceptionally refined, stylish, and, given the lush vocal writing, effectively understated. The orchestra produced multiple colors, from the pickled-brine of the double-reeds, to the hollow silver of the recorders and the warm silk of the strings. Principle cellist Joseph Crouch was a star." 

For the full review, please follow the link: Alcina - New York Classical Review

The New York Times

"Mr. Bicket, leading the ensemble from the harpsichord, drew a lithe, detailed and richly expressive account of this great score from the first-rate players. The ovations were enormous. The audience seemed not just excited but also grateful."

For the full review, please follow the link: Alcina - The New York Times

New York Observer

"Everyone in the place jumped to their feet to shout “Brava!”

For the full review, please follow the link: Alcina - Observer

Broadway World

"The result was almost-dizzying virtuosity from top to bottom, including the conductor on the keyboard and the many solos of lead violinist Nadja Zwiener."

For the full review, please follow the link: Alcina - Broadway World

Die Presse (Vienna)

"The cultivated playing of The English Concert - under the animated direction of Harry Bicket - created an original sound well-suited for the four hour magic realm of Alcina, with special thanks to Joyce DiDonato." 

For the full review, please follow the link: Alcina - Vienna

A review in Forumopé written by Christophe Rizoud.

For the full review, please follow the link: Alcina - Paris

Seen and Heard International (Madrid, Spain)

A magnificent orchestra!

For the full review, please follow the link: Alcina - Madrid

A review in written by Hugo Cachero.

For the full review, please follow the link: Alcina - Spain

A review in La Razon written by Gonzalo Alonso.

For the full review, please follow the link: Alcina - Spain

The Telegraph

"Elegantly supported by The English Concert and led from the harpsichord by Harry Bicket, the starry cast could scarcely be bettered, gorging us with dish after dish of superb musical cuisine."

For the full review, please follow the link: Alcina - The Telegraph

Whats On Stage

5* review for Alcina: 'Altogether an astonishing evening'

For the full review, please follow the link: Alcina - whatsonstage

Opera Today

"Bicket and the English Concert gave a sparking account of the overture, brisk but not too rushed with a nice crispness."

For the full review, please follow the link: Alcina - Opera Today 

Music OMH

"During all of this, DiDonato and co. were steadily supported by The English Concert, led from the harpsichord by Harry Bicket. Although the small orchestra (only 22 players, including Bickett) tended to take their lead from the singers, they set the atmosphere perfectly for each aria, and the playing itself was spot-on. The clarity of the woodwind in particular was especially noticeable, and the strings never sounded a single sour note."

For the full review, please follow the link: Alcina - Music OMH


"There was real magic to this performance of Handel's supernatural opera"

For the full review, please follow the link: Alcina - Artsdesk

The Times

"The special effects in The English Concert's concert performance, led from the keyboard by Harry Bicket, were purely musical: a sequence of dazzling arias, some with delicious obbligato solos for cello (Joseph Crouch) or violin (Nadja Zwiener); others tinted with the rosy blush of treble recorders; one splattered with the adolescent whoop of natural horns"

For the full review, please follow the link: Alcina - The Times


Manchester Evening News

"Smooth, rich, beautifully sustained lines were a pleasure to hear, clearly articulated and superbly accurate. Everything was sumptuous, in this warm acoustic – indeed in the fullest textures the lines of flutes and oboes were swallowed up, though the tones of the natural trumpets blended evenly."

For the full review, please follow the link: Bach B  Minor Mass - Manchester Evening News

The Guardian

"Harry Bicket’s performance with the English Concert felt less at times like a period-instrument performance than a portal to the future: Bach’s breadth of vision so far outstrips that of his contemporaries you can sense him breathing down the neck of Mahler.

Bicket’s reading was austere and celestial where it needed to be. But it also had its joyously earthbound moments: the maelstrom of trumpets and drums at the conclusion of the Gloria was a euphoric celebration of loam-footed country dance rhythms."

For the full review, please follow the link: Bach B Minor Mass - Guardian

The Financial Times

"The light touch of The English Concert under Harry Bicket sets the scene" 

For the full review, please follow the link: FT

BBC Music Magazine

***** 5 star review: "Expressive singing with eloquent instrumental partnership make for a rewarding encounter"

For the full review, please follow the link: BBC Music Magazine

Sinfini Music

"Harry Bicket's English Concert are far more sparing — a rougher and more evocative foil to the vocal drama"

For the full review, please follow the link: Sinfini Music


The Independent

"Dido and Aeneas: wonderfully zesty and fresh."

For the full review, please follow the link: The Independent

The Times

"A remarkably vivid experience!"

Bristol Post

"We experienced a moving performance of the opera!"

For the full review, click here.


The Times

"Harry Bicket ... whipped his musicians into wonderful finesse and a springing attack that never weakened during the long night."

For the full review, click here.

Music OMH

"Harry Bicket led The English Concert on a tour de force that saw every alteration in tempo embraced to perfection." 

For the full review, please visit Music OMH

Seen-and-Heard International

"It would be difficult to imagine an orchestra more involved than the English Concert. The technical excellence was almost unbelievable, but it was the pureness of utterance that impressed the most as if this was simply how the score had to be. There was a rightness to every single aria, every chorus. The hours – and there were several – sped by."

The full review can be read here: Seen-and-Heard International


"This was a high-quality performance on all counts. Bicket is not just a brisk, non-interventionist Baroque conductor. He searched out colour and expression in the inner parts, drawing a wealth of rich playing from the English Concert."

The full article can be read here: Financial Times - Theodora

The Independent

Theodora: 'Flawless and Uplifting'

The full article can be read here: The Independent - Theodora review

Evening Standard

"Impressively captured in Harry Bicket's judiciously paced performance ... The players of the English Concert distinguished themselves."

The full article can be read here: Evening Standard

Birmingham Post

"This Theodora, with Harry Bicket directing The English Concert from the keyboard, was ardent, stylish and eloquently performed."

The full article can be read here: Birmingham Post

New York Times

February 2014

"You certainly couldn’t have asked for a more inspired performance than the one given on Sunday, with Harry Bicket conducting the spirited English Concert"

For the full article, please follow the link: The New York Times

Wall Street Journal

"George Frideric Handel's oratorio "Theodora" received a revelatory performance from conductor Harry Bicket, the English Concert, the Choir of Trinity Wall Street and a top-flight cast."

The full article can be read here: The Wall Street Journal

San Francisco Chronicle

January 2014

"The English Concert's ravishing Handel"

For the full article, please follow the link: San Francisco Chronicle

San Francisco Classical Voice

January 2014

"Theodora Ravishes the Senses!"

For the full article, please follow the link: San Francisco Classical Voice



January 2014

"With first-rate musical forces employed, The English Concert created a wonderfully organic entity and an unforgettable performance of what is undoubtedly Bach’s finest masterpiece."

For the full article, please follow the link: Bachtrack



The New York Times

December 2013

The New York Times Best of 2013 includes "the superb concert performance of Handel's opera 'Radamisto' at Carnegie Hall in February with The English Concert and star singers like David Daniels and Luca Pisaroni, conducted by Harry Bicket"

For the full article, please follow the link: Early Handel Operas are current again - The New York Times

The Telegraph

October 2013

"Pinnock had that ease that comes from long experience, which allowed him to be flamboyant at times; as in the splendid flourish which wound up the slow introduction to Handel’s Concerto Grosso in B flat major."

For the full review of The Return of Trevor Pinnock, please follow the link: The Return of Trevor Pinnock - The Telegraph

The Independent: 

July 2013

"With the English Concert pouring forth a luscious feast of baroque music from their on-stage dais"

To read the full article, please follow the link: Gabriel - The Independent

The Arts Desk

July 2013

"A very fine musical team, including second trumpeter Mark Bennett" 

The Evening Standard: 

July 2013

"The musical offerings, dominated by Purcell, are superb"

Financial Times

July 2013

"...played with generosity and zest by a cast that includes English Concert orchestra musicians."

The Telegraph

July 2013

"If you love Purcell and Handel, I challenge you not to love this show. The production amounts to a celebration of life."

To read the full article, please follow the link: Gabriel - The Telegraph

The Guardian

July 2013

"It is an exceptional evening unified by Dominic Dromgoole's production, which marries the bawdy and the beautiful."

To read the full article, please follow the link: Gabriel - The Guardian

The Independent

July 2013

"Trevor Pinnock is one of my all-time musical idols," [Alison Balsom] says, remembering a recent example. "And when we were recording my new album Sound the Trumpet in St Jude's Church in Golders Green, I got in early one morning. Trevor got in early too, and he was just standing up at the harpsichord playing some Bach to himself. He didn't realise there was anyone else there, and sunlight was streaming in, and I had tears, because he's such a great musician, and he was just making pure music. It was one of those occasions where you think, 'I couldn't possibly do anything else.' Those moments make life worth living." 

To read the full article, please follow the link: Gabriel at Shakespeare's Globe

The Sunday Times
January, 2013

There was The English Concert's Festival night at Christ Church Spitalfields, when Laurence Cummings directed superbly poised accounts of Bach's Magnificat in D and his cantata 'Schwingt freudig euch empor'.

The Daily Telegraph
August, 2012

This was a remarkable evening. A very remarkable evening.  An exceptionaly remarkable evening ... there seemed to be a consensus among the audience that this practically flawless performance of Bach's B minor Mass was something quite extraordinary ... With first-rate forces at his disposal, Bicket created a wonderfully organic entity and an indelibly poignant, probing performance of Bach's masterpiece.

The Arts Desk
August, 2012

Bicket and his musicians produced a beautifully judged interpretation ... the warmth and fulness of their sound was the first delight ... then there were the tempi.  Rather than the uniform lickety-spit pace favoured by some period bands, there was a deeply satisfying balance of speed and moods ... Rich and expansive one moment, crisply exuberant the next, their [the Choir's] multi-faceted performance was a triumph not just of technique and choral cohesion, but crucially also of emotional expression.  The orchestra was on equally brilliant form ... As performances of the B minor Mass to, this one was life-affirming in the extreme.

The Independent on Sunday
August 2012

Bicket's thoughtful, spacious B minor Mass was generoulsy phrased and naturally paced ...

The Guardian
February, 2012

Laurence Cummings and the musicians of The English Concert did fine things with Handel and Scarlatti. They also gave us Corelli's D minor Sonata for Violin and Continuo, 'La Follia', its exacting solo lines beautifully sculpted by Nadja Zwiener.

The Arts Desk
June, 2011

It’s not often that a performance of Purcell's King Arthur requires its entire cast of singers to strip down to very tight Union Jack boxer shorts. It's not often either that the audience find themselves actively encouraged to talk over the music, yet both were unexpectedly and riotously true last night at the Spitalfields Festival. Pairing Baroque big-hitters The English Concert and I Fagiolini, there was nothing half-hearted about this semi-staging of Purcell's semi-opera. It promised much and delivered more, and while those listening live on Radio 3 might have enjoyed better textural balance, they can’t have had nearly as much fun as the sell-out crowd sweltering away in Shoreditch Church...

There’s an intent and a precision to the music-making of both The English Concert and I Fagiolini that sets them apart from their rivals. Their meticulous attention to detail could result in fussiness, but paradoxically creates a kind of freedom – the beautiful anarchy that can only come from absolute control. As a listener it's exhilarating to be invited to lose oneself in such expertly crafted fantasy, though the danger of never wanting to emerge is a real one. This may have been a one-night-only show, but I have no intention of quitting Purcell's magic forests for at least another week.

The Guardian
June, 2011

This performance of Purcell's King Arthur opened with its conductor, Robert Hollingworth, requesting that the audience talk through the overture. In the 17th century, people didn't shut up until someone appeared on stage, so we all nattered away until the evening's narrator, Kit Hesketh-Harvey, swept on to the platform and kicked off what proved to be an engagingly quirky take on Purcell's odd near-masterpiece, performed by Spitalfields Music.

King Arthur is a play with masques rather than an opera – and the play, a prolix effort by John Dryden, has proved problematic. Jettisoning the dialogue is nowadays common practice, though in this instance a new narration was provided by Timothy Knapman: this summarised the work's plot (King Arthur subdues a Saxon rebellion) and cast a wry look at its politics, which envision a unified Britain, secure in its domestic harmony.

Musically, it was for the most part delightful. Hollingworth's vocal group I Fagiolini joined forces with The English Concert, whose music director Harry Bicket was the evening's harpsichordist. Purcell's score subversively suggests that this "fairest isle" is something of an erotic pleasure palace, and there were plenty of sensual instrumental textures and some finely suggestive singing.

Matthew Long swaggered his way through Come If You Dare with great panache, while Julia Doyle and Emma Tring made a nicely wicked pair of Sirens. There was an appealing Aeolus from Thomas Guthrie, who also directed the semi-staging, which cleverly utilised the church's space, but suffered from occasional slips in tone. The Saxons' German accents were a mistake – as were the union flag knickers worn by the cast for the communal love-in that marks the passing of winter and the arrival of spring.

The Daily Telegraph
February, 2011

Back in the Seventies, The English Concert were trailblazers in the “historically informed” performance of Bach and Handel and Mozart. Audiences were amazed to hear this music played on instruments appropriate to the period, and with a dancing kind of expressivity rather than a heavy, romantic one. In recent years younger groups have muscled into this territory, but this event was a reminder that The English Concert can still show these Young Pretenders a thing or two – not least because it has brought plenty of new blood into the ranks.

On this occasion they explored the century-long love affair of the English with the Italian composer Arcangelo Corelli. There was something in his gravely beautiful music that appealed to the English soul, and canny composers cashed in by producing “cover versions”, turning modest sonatas into full-blown concertos.

Some of the products of this Corelli-mania were displayed in this concert. They have a fascinating emotional tone, chaste and wild at the same time, which these performers caught perfectly. Geminiani’s take on Corelli’s famous La Follia sonata (which also fascinated Liszt and Rachmaninov) had a tremendous explosive energy, but also strange spectral moments where the tempo ground mysteriously to a halt. Here, as elsewhere the orchestra’s leader, Nadja Zwiener, really shone, switching in an instant from plaintiveness to fury.

Still, it has to be said that the star of this show was the snappily dressed, willowy figure of recorder player Maurice Steger. Anyone who thinks the recorder is fit only for school assemblies would have been forced to think again by Steger’s amazing virtuosity, which somehow soared over the instruments limitations. The rapid passagework in Corelli’s F major Concerto emerges as a barely audible bird-like twittering, but Steger made it so crystal-clear that it pushed through the orchestral sound without difficulty.

This offered the “wow” factor, but more striking was the way Steger draped expressive ornaments over the melodies of the slow movements, creating a luxuriant melancholy at each dying fall by leaning on the dissonant notes. Even grandeur isn’t beyond his reach, as was shown by a riveting performance of the Sarabande from Corelli’s 7th sonata. The unknown arranger added to the sense of unfolding majesty by bringing in more instruments (though I imagine director Laurence Cummings had a hand in this too), while over the top Steger floated a lovely line, fragile and droopingly expressive and dignified all at once.

The Independent on Sunday
December, 2010

The publishing sensation of the 18th century, Pergolesi's Stabat Mater remains the composer's best-known work, its sculptural beauty undeniably enhanced by the tragedy of his early death at the age of 26. It is easy to succumb to the opening movement's grief-drugged walking bass and sighing suspensions. (Pergolesi had already used these in his Salve Regina.) But what of the rest? What of the panting trills, the up-tempo, major-key flames of judgement, the scandalous physicality of Neapolitan passion? To northern European ears, much of the Stabat Mater sounds impious, even flippant. Yet Harry Bicket's exquisitely poised reading with Susan Gritton, Sara Mingardo and The English Concert revealed a work of consummate seriousness and pathos.

This was a Stabat Mater in the model of an altarpiece, its opening and closing duets as clear-eyed and consoling as a pietà, the movements between them miniature dramas of scourging and sorrow. From the scorching trills of "Cujus animam gementem", to the revulsion and horror of "Quae morebat", the violent shifts between major and minor in "Quis est homo", and the gasping syllables of "Vidit suum", the crucifixion is related in striking instrumental detail. Though Anna Caterina Antonacci had been scheduled to sing until a few hours before the performance, Gritton brought a purity of timbre that ideally matched Mingardo's grave contralto, adding to the quality of prayerfulness in Bicket's measured interpretation. After a neat account of Handel's Concerto Grosso No 6, Opus 6, Mingardo's balmy performance of Vivaldi's Nisi Dominus was stylishly supported by muted violins, delicate continuo work from theorbist William Carter and an enchanting viola d'amore solo from Catherine Martin.

The Sunday Express 
December, 2010

The English Concert under conductor Harry Bicket chose a programme of sacred music as part of the Barbican Centre's baroque season, with Vivaldi's Nisi Dominus and Pergolesi's Stabat mater. Pergolesi, who lived only 26 years, was an 18th-century phenomenon and his Stabat mater is an exquisite harmony of soprano, alto, and strings. Soprano Susan Gritton and contralto Sara Mingardo blended to perfection in the duets, backed by superb playing from the strings. Venetian born Mingardo is a true contralto, possessing a rich voice with cello-like resonance. As soloist in the Nisi Dominus she elegantly complemented the dark tones of the viola d'amore. An uplifting evening.

The Guardian
April, 2010

Anyone who emerged from the Royal Opera's recent production of Tamerlano with their faith in Handel dented would have found it restored by this wonderful concert, in which Rosemary Joshua and Sarah Connolly sang arias and duets from his operas and oratorios with The English Concert and Harry Bicket.

They are all fabulous Handel interpreters. Joshua's blazing tone contrasts with Connolly's altogether darker sound, yet their two voices blend together stunningly. Each has a remarkable if restrained way with words – more important in this music than you might think. Directed from the harpsichord with precision by Bicket, The English Concert have a marvellously acute understanding of Handelian sensuousness.

Operatic scenes came first. Connolly was implacable in one of Agrippina's murderous soliloquies and dazzling in Ariodante's Dopo Notte: Joshua was alluring as Agrippina's nemesis Poppea, and heartbreaking in Ginevra's lament at Ariodante's desertion. Then they tackled the lovers' big duet of reconciliation, spinning out their harmonised coloratura with heady perfection. Extracts from Solomon and Theodora followed the interval. Joshua's sensual Queen of Sheba preceded Theodora's When Sunk in Anguish and Despair, a powerful expression of faith, sung with huge dignity and assertion. Connolly gave us a rapt performance of Irene's As With Rosy Steps the Morn, also from Theodora, before changing roles to Didimus for the great duets in which the persecuted lovers face martyrdom.

It was bliss from start to finish. Any chance we could have the pair of them in a complete work – Theodora, preferably – with Bicket conducting?

The Times
April, 2010

You knew exactly when this concert was shaping up to be a blinder. It was when Sarah Connolly sprang out of her seat for her first entrance, dressed in a sleek tuxedo, and contemplated her public with a coolly imperious gaze. Well, she was the scheming Empress Agrippina in Handel’s barnstorming 1709 opera, and we were the pawns getting in her way.

This is what happens when you give every bar of Handel’s music its own raison d’être and breathe every wisp of nuance into his flavourful duets and those prolonged “da capo” arias. This concert, delivered by The English Concert under Harry Bicket, offered two artists of great refinement: Connolly and the elegant soprano Rosemary Joshua. Actually, there was a third great artist here, too: Bicket led his ensemble with both dramatic concision and pungent expression. The ballet music from Ariodante was lithe and punchy; the bracing Sinfonia from Solomon (the wedding favourite The Arrival of the Queen of Sheba) firmly erased all trace of stale confetti.

We progressed from Handel the punky Italian (Agrippina), to the florid heights of his London operas (Ariodante) and on to his chaste, more reflective oratorios. Joshua, whose warm, rather dusky tone is best appreciated at close quarters, brought a fervid anxiety to the lament Il mio crudel martoro, from Ariodante. Connolly’s show-piece aria of triumph from the same opera, Dopo notte, took on its virtuosic range without sacrificing nuance and, here, a rather gleeful intimacy…

The Evening Standard
December, 2009

The strings of the English Concert brought a splendidly acetic tang to Purcell’s pungent dissonances, while Robert Howarth’s discrete direction from the harpsichord ensured well-paced accompaniments for [Mark] Padmore’s ravishing accounts of Handel arias.

The Vancouver Sun
April, 2009

As the program unfolded, it was easy to see the complete rapport between singer [David Daniels], conductor, and ensemble. Bicket and his players provided remarkably sympathetic accompaniment, carefully scaled to the dynamic range of the soloist and responsive in the highest possible degree to his interpretations.

Chicago Tribune
April, 2009

[Harry Bicket's] performances with his period band English Concert here Sunday were beautiful... wonderfully in tune with the fire, fantasy and dancing lightness of the music...

The New York Times
April, 2009

Conducting from the harpsichord or portative organ, Mr Bicket elicited fine, colorful performances, and he achieved good variety in the Bach Suite (No.1 in C) by lightening the orchestration or dynamics in repeated sections.

The Times
November, 2008

This is music [Handel’s Ode for St Cecilia’s Day directed by Harry Bicket] that needs zip, and The English Concert musicians had it in plenty, allied with a razor-edge ensemble sense and faultless intonation. The strings alone were delight enough, rollicking through the twists and kicks of Handel’s leaps and syncopations…. a victory for vigorous, healthy music-making in the best English Concert tradition.

The Sunday Times
August, 2008

This superlatively sung recital of alto highlights from Bach’s Passions, Mass in B minor and cantatas (J S Bach Sacred Arias & Cantatas - Virgin Classics) [David] Daniels sets a yardstick for the singing of these arias - even if the programme is a bit heavy on dolefulness for a single sitting, I will recall these extracts when listening to complete recordings. The stylish playing of The English Concert only enhances the glory of Daniels’s unique voice.

BBC Music Magazine
August, 2008

The English Concert’s artistic director Harry Bicket draws some poised eloquent playing: dramatically charged in Es is vollbracht, rapt in Vergnügte ruh, exquisitely tender in Schaf können sicher weiden(J S Bach Sacred Arias & Cantatas - Virgin Classics)
June, 2008

[Harry Bicket, The English Concert and Jonathan Lemalu at Wigmore Hall] proved to be a strong demonstration of how it is possible for a classical concert in formal surroundings to still be a convivial, light-hearted, accessible and relaxed occasion. Some beautiful music, exactly performed…

The Times
February, 2008

As the English Concert wolfed down the semiquavers in Bach's fourth orchestral suite during Wednesday's Baroque mixed grill, it was hard to imagine the music ever sounding fresher or cleaner. Or faster: if Laurence Cummings, directing so spiritedly from the harpsichord, wasn't breaking the Bach land speed record, he was close. The woodwinds' dexterity here was jaw-dropping. Not a hair of a note was out of place.

August, 2007

(As Steals The Morn - Harmonia Mundi – winner of a 2008 BBC Music Magazine Award) is a collection of arias from Handel's oratorios and operas sung by Mark Padmore. The lyrical numbers are as dreamy as one would expect from a light and agile singer who knows how to float a phrase with effortless ease but he's equally good at high drama. He cries, whispers and rages in Bajazet's death scene from Tamerlano and the result is barnstorming. Andrew Manze's luscious, full-bodied conducting of The English Concert provides a wonderful cushion for Padmore's exquisite sound, and the title track, a pastoral duet (with soprano Lucy Crowe) from L'Allegro, Il Penseroso, Ed Il Moderato, is a delight.

The Daily Telegraph
February, 2007

[Harry Bicket’s] theatrical experience bore fruit in these performances in the way he brought out the innate drama of Haydn’s symphonic vision… Needless to say, the crack players of The English Concert made the most of these opportunities…
August 2006

These are splendid performances (Mozart Violin Concertos – Harmonia Mundi), musically astute and full of ear-catching detail. The playing of the English Concert under Andrew Manze is simply marvellous, with polished strings and delightful flutes, oboes, and horns.

Sunday Times
August 2005

These fabulous performances (Vivaldi Concertos for the Emperor – Harmonia Mundi), played with exhilarating virtuosity and panache in the Allegros and deeply felt expressivity in the slow movements, reveal Vivaldi as anything but the ‘dull fellow’ attacked by Stravinsky for composing the same form repeatedly.

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