La Francesina, Handel's nightingale
Sophie Junker (soprano)
Le Concert de l'Hostel Dieu, Franck-Emmanuel Comte
Junker’s voice seems perfect for this repertory. She has the range and tone that fits the lines, though her various melismas can sound a bit sloppy at times, and the ornaments are not always...
La Francesina, Handel's nightingale
Sophie Junker (soprano)
Le Concert de l'Hostel Dieu, Franck-Emmanuel Comte
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Junker’s voice seems perfect for this repertory. She has the range and tone that fits the lines, though her various melismas can sound a bit sloppy at times, and the ornaments are not always...
About
For the French soprano Élisabeth Duparc, known as ‘La Francesina’, Handel composed no fewer than twelve principal roles in major works - operas and oratorios - written towards the end of his life. She took the title role in Semele, for instance, and the parts of Michal in Saul and Nitocris in Belshazzar. Sophie Junker and the Concert de l’Hostel Dieu pay tribute to her here, through some of her most successful roles as the composer’s muse.
Contents and tracklist
- Sophie Junker (soprano)
- Le Concert de l'Hostel Dieu
- Franck-Emmanuel Comte
- Sophie Junker (soprano)
- Le Concert de l'Hostel Dieu
- Franck-Emmanuel Comte
- Sophie Junker (soprano)
- Le Concert de l'Hostel Dieu
- Franck-Emmanuel Comte
- Le Concert de l'Hostel Dieu
- Franck-Emmanuel Comte
- Sophie Junker (soprano)
- Le Concert de l'Hostel Dieu
- Franck-Emmanuel Comte
- Le Concert de l'Hostel Dieu
- Franck-Emmanuel Comte
- Sophie Junker (soprano)
- Le Concert de l'Hostel Dieu
- Franck-Emmanuel Comte
- Le Concert de l'Hostel Dieu
- Franck-Emmanuel Comte
- Sophie Junker (soprano)
- Le Concert de l'Hostel Dieu
- Franck-Emmanuel Comte
- Sophie Junker (soprano)
- Le Concert de l'Hostel Dieu
- Franck-Emmanuel Comte
- Sophie Junker (soprano)
- Le Concert de l'Hostel Dieu
- Franck-Emmanuel Comte
- Sophie Junker (soprano)
- Le Concert de l'Hostel Dieu
- Franck-Emmanuel Comte
Awards and reviews
May/June 2021
Junker’s voice seems perfect for this repertory. She has the range and tone that fits the lines, though her various melismas can sound a bit sloppy at times, and the ornaments are not always clear. However, her tone, expressive vocalises, and ease with which she approaches Handel’s tortuous music is excellent.
April 2021
Junker is well equipped to illustrate these contrasting aspects of Duparc’s musical character, capable of dazzling coloratura and spirited display (the arias from Joseph, Semele and Faramondo), while equally in command of the pathos and heart-breaking beauty of Iole’s ‘My father! Ah!’.
