if all ears were once on the Egyptian seductress Cleopatra, now they are focused on the grieving Roman widow Cornelia...Curtis presents a Giulio Cesare that is as volatile and ambiguous as Mozart's Don Giovanni. Il Complesso Barocco's articulation is vigorous and incisive...Lemieux plays Cesare as a man made foolish by love...This is not the definitive Giulio Cesare - but it does advance the debate around a much loved, little understood masterpiece.

Judiciously paced recitatives are accompanied unobtrusively and always permit the poetry to flow with the utmost clarity...Curtis wisely pays attention to Handel's tempo markings...There are no weak links vocally. Marie-Nicole Lemieux is a dependable Cesare and Karina Gauvin is an eloquent, steely Cleopatra. Emoke Barath's Sesto is ideally fresh-voiced and Romina Basso is a perfect fit for Cornelia

excellent singers, without a weak link … this Giulio Cesare is a welcome addition to this wonderful opera’s now substantial discography

Lemieux uses her exciting coloratura with psychological insight and, importantly, accuracy...However, the voice is wonderfully sensual for the love music...Gauvin is all feminine sensuality...As always, though, it is Curtis that holds the whole show together. He approaches this, as with his other Handel recordings, with fresh eyes and ears so as to reawaken us to how effective this opera can be for our own time

It’s a polished set, with stylish playing from Il Complesso Baroccco and lovely singing from Emoke Barath and Karina Gauvin, who’s Cleopatra, becomes richer and nuanced aria by aria.