“Connolly, after forays into Wagner, Mahler and a brush with cancer, remains optimal casting for the charismatic title role, written for a woman, even though the role of the biblical king was intended as an avatar for Handel’s royal patron, George II, here seen as the Act I lover, opposite Mafi’s radiant Queen, and as an international diplomat in the encounter with Bevan’s lush-toned Queen of Sheba. The 30-minute sequence — which included the ravishing aria with oboe solo (Katharina Spreckelsen) Will the Sun Forget to Streak — whetted the appetite for a complete performance with these fine Handel singers.”
— Hugh Canning
Press  |  October 29, 2020
The Times – Britain’s Orpheus Review
“Connolly, after forays into Wagner, Mahler and a brush with cancer, remains optimal casting for the charismatic title role, written for a woman, even though the role of the biblical king was intended as an avatar for Handel’s royal patron, George II, here seen as the Act I lover, opposite Mafi’s radiant Queen, and as an international diplomat in the
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“Bach’s holiness has its wild, rough and earthy side: her punk virtuosity with this most untameable of brass beasts made it thrillingly audible” “…singers and players alike glowed, gripped and soared. In the right hands, and voices, Bach’s great farewell portmanteau can always sound, and feel, freshly-made” The Arts Desk
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