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Revving a motorbike ! Wonderfully explained

Just absolutely brilliant.

It,s a shame that he had to retire from this orchestra under a cloud.

Bravo!

Beautiful performance 👏. Master Haendel, all my devotion! ❤

“… shall crowd intöüüö a shade.” New vowels to my ears! Apart from that it was lovely.

I am an ardent admirer of Bach's cantatas, and especially of your bravura interpretations of them. Whenever an aria or chorale catches my ear and I say: yes! This is the best that Bach composed - after a while I come across another piece and another - each one surprising me with something new each time. The admiration is endless! A week ago I listened to your aria from BWV 81. I simply have no words to describe this interpretation, you have enchanted me to the bottom, Paul! Since then, of course, it has been my favourite cantata!.... Before I come across another one.... :) And when you say that you we're disappointed about your performance and that you did not sing it very well - who on earth would do it better then??? I appreciate your self-criticism, but in my view it is not justified. You have perfectly illustrated the drama and referred to the text. Phenomenal technique in rendering the coloratura parts!

Sublime ❤ I absolutely love Louise Alder👏🏻😍🌟

Glorious G.F. Handel. “The master of us all”. (attributed to Mozart). Why the sudden fade out?

Many thanks for introducing me to this lovely piece. This was gorgeous 😊

Cool A-Capella performance. Thanks

Lovely singers! Beautiful colours from the orchestra.

The acoustics of Ely cathedral is absolutely amazing, the performance of Mahler 2 with Bernstein here is still one of the most supreme recordings of Mahler because of it. Bruckner's vocal works also resonates so spectacularly in this short clip, I truly love how emotional the alleluja motif at the end of Os lusti is. It reminds me of the end of the Benedictus of his Requiem mass when the choir sings alone the hossana in excelsis motif.

I think they should forgive JEG and allow him back. He's no longer a danger to the public.

#Handel265 #JohnMilton350 (2024) ⚰️ #Handel340 (2025) 🎉

Nice, but: Like with so many other videos on this channel, one is missing information, and the point is not quite clear. Are you working on a new recording release of Bruckner motets? Where is this taking place? You don‘t even mention who is conducting… I love MCO but I find these videos more a pity than helpful.

Too short even for a teaser! Disappointing!

Beautiful

its not the same without Mr Gardiner. Why dont you want him back?

Just watched the performance on Blu-ray. Why was there a cut in Seneca’s first monologue after ‘la bellezza’? 😢

Where/how can I find that recording of Beatus Vir?

❤❤❤

This is very soothing, fantabulous ❤❤

Clear and rapid explanation of the instruments by maestro Gabriele Cassone.

I have the complete cycle of Beethoven Symphonies with Sir John Elliot Gardiner and the ORR recorded for the ARCHIV label (on CD), and I think they are wonderful interpretations. It would be interesting if they recorded a new cycle of Beethoven symphonies.

This performance has a very live feeling.

Great playing. Great sound.

They should all try to play on such a couch 🤷🏼‍♀️Now That Would Have Been Fun

Just wonderful!

헨델의 아리아는 역시 기교의 집합체.

Louise Alder is one brilliant soprano. Wonderful, beautiful and intense Interpretation of that aria.❤

Other videos I have heard on RUclips of Gardner conducting Beethoven's 8th symphony have the symphony performed at a lot higher rate of speed than it is performed here. Does anyone know the reason for this? The cd I have of Gardner conducting Beethoven's 8th has the work performed at a faster rate of speed as well.

Very enlightening, but at 9:18, talking about the minuet, he says nobody in Mozart's or Haydn's time would have given such a fast tempo. Mozart was dead, but Haydn was still alive and kicking, and he wrote presto minuets in his Op.76 string quartets, published in 1799. Perhaps Haydn was the real revolutionary!

This is the difference between beeing a singer and beeing an artist.

Beautiful

Unforgettable experiense on 30 october 2023 in St. Martin in the Fields! Thank you so much!

What a treat to hear Alison Hill sing!!! She is amazing!!! Please post the full concert!!

Whoever was singing, whoever was conducting (no information provided unfortunately) - bravi.

Bravo!

Increíble me enteré de esta opera leyendo 1 art sobre Cristo;aun siendo Músico.

Honestly, I never found conductors' interpretations of Beethoven's marked metronome, when differing from the original, to be better

Tasteful ornamentation!

your voice is so wooooooooow!!!! I love it

To Ginong Chance - I JUST listened to it in all its glory a month ago! That cantata is one of the reasons why you’re a VERY CLOSE second to your son, Alexander, as my favorite countertenor EVER!

(Please see my fuller comment on the fallacy of period instrument nostalgia in the segment of Mr. Gardiner talking about Beethoven's "Eroica" symphony.) As a long-time classical (concert) music lover, I hate to dampen anyone's interest, be it misguided or not, in listening to and enjoying classical music, but I must admit the fun I had reading one comment claiming this Gardiner/ORR version is the best Beethoven Fifth, and another crying "Beethoven speak through the instruments he knew especially the brass." The truth is that the ideal version is in the score, and the best performing version is the one (yes, any one) that sounds the "best" to you. As for the idea that "Beethoven speak through the instruments he knew," we know Beethoven had difficulty hearing (physically) the instruments of his day. Certainly, the historical background, including anything that could have influenced his music, is interesting, but not essential, in appreciating Beethoven. Ultimately, his music transcends historical minutiae, and it's the universal appeal of his music that counts, that we enjoy and appreciate-simply because his music enriches us all.

As someone who has been listening to, analyzing, and appreciating classical (i.e., concert) music for about 70 years now, I admire Gardiner's passion and effort in advocating using the so-called period instruments to play the "period" work like the "Eroica." Truth be told, however, this admirable sentiment is mostly a historical curiosity and sentimental fallacy. If Beethoven had had the modern instruments available to him, he would most likely have preferred the modern instruments instead of the "museum" oboes, clarinets, and flutes (to mention just a few) you see in this video. Had he (and Chopin) had access to the modern Steinway grand piano, for example, the Steinway would most likely be the choice, just as Beethoven himself preferred the fortepiano instead of the harpsichord for his 32 piano sonatas (including some that could not be played even by the fortepianos of his day). Yes, do listen to the "period" instruments for their historical, nostalgic tone colors, enjoy them, and imagine what Beethoven's audiences might have heard, but we can never truly go back to those days just as we can never truly dip our feet in the same river twice. Having said that, I thank Mr. Gardiner and the entire orchestra players for helping to shed more light on the beauty and power of the mighty Beethoven Third.

Great interpretation! Best for me

I use this series to introduce students Beethoven through his symphonies. He does such a wonderful job of communicating Beethoven's character and intent.

Fantastic vocal and physical delivery.

yes excelent singing/playing.