Music

Small gifts


Reviews (18)


The observer

d. 10. Dec. 2017

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By

Fiona Maddocks

d. 10. Dec. 2017

"Uniting their own particular talents, countertenor Andreas Scholl, voice fresh and unblemished as ever, and recorder player/director Dorothee Oberlinger are in their element ... Oberlinger's small, Cologne-based chamber ensemble plays with lithe precision, each musician a soloist. Quite large gifts, it turns out".


The guardian

d. 13. Oct. 2016

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By

Erica Jeal

d. 13. Oct. 2016

"Two of JS Bach's most glorious cantatas find him at his vibrant best ... He's equally persuasive in two cantatas by Telemann. Though less consistently compelling musically than the Bach, these are still rewarding, and they come alive in the Freiburg Barockorchester's dramatically aware playing".


Presto classical

d. 14. Oct. 2016

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Katherine Cooper

d. 14. Oct. 2016

"Vurdering: Presto disc of the week" - "A recording of such radiance and beauty that it almost seems sacrilege to pick it apart even to anatomise its virtues ... The German vowel-sounds somehow tap straight into the special qualities of a voice that's instantly recognisable for its cleanness, focus and androgynous beauty".


MusicWeb international

2017 January

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John Quinn (musikanmelder)

2017 January

"Recording of the month: This is a simply outstanding Bach disc. I've heard a lot of Iestyn Davies, both on disc and live, but I'm not sure I've hear him do anything better than this. His singing is expressive, nuanced and extremely stylish and the voice falls pleasingly on the ear at all times ... The playing of Arcangelo is expert and unfailingly stylish ... On my shortlist for Recordings of the Year 2017".


DR musik

2017 [uge 15]

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By

Nikolaj Kennov Rasmussen

2017 [uge 15]

"Ugens album: Davies' drømte at blive rockstjerne - nu er han en af verdens bedste til falset. Iestyn Davies lagde mandstemmen på hylden og hanker nu op i dystre Bach ... I dag er den 37-årige brite med det walisiske fornavn blev en af verdens førende kontratenorer".


Politiken

d. 17. Nov. 2016

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By

Thomas Michelsen

d. 17. Nov. 2016

"Hos ... kontratenor Philippe Jaroussky er repertoire, stemme, det hele, ren velsignelse. Meget få har den kontrol over deres falsetleje, han har. Med en klang, der på en gang er mørkcremet og svævende, og med noder af Bach spillet til perfektion af Freiburgs barokorkester, er det svært ikke at overgive sig ... Og hans Telemann er lethed og drama i ét. Bogstavelig talt så man får kuldegysninger. Og det, tror jeg, gælder, uanset hvilket køn man som lytter har".


Politiken

d. 11. Apr. 2017

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By

Thomas Michelsen

d. 11. Apr. 2017

"Hvis du vil høre kirkekantater af Bach ... og hvis de skal synges af en mandealt, som Bach ville have anbefalet, så er det briten Iestyn Davies, du skal finde ... Stemmen er suveræn. Ubesværet, kernerig og klangligt modulerbar ... Triller og koloratur er intet problem, optagelsen ... er teknisk suveræn, og ensemblet Arcangelo sætter standarden med udtryksfulde solospillere".


Klassisk

2016, nr. 43

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Jens Cornelius

2016, nr. 43

"Fans af kontratenoren Philippe Jaroussky behøver ikke betænke sig. For også på dette album er Jarousskys usædvanlige stemme i centrum, og det er en lyd, man kan blive meget forfalden til".


BBC music magazine

2016 December

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By

Nicholas Anderson

2016 December

"Philippe Jaroussky brings expressive tenderness and eloquent phraseology to the music, both in this mainly elegiac masterpiece [Bach: Ich habe genug] and in the cantata Vergnügte Ruh ... The two Telemann cantatas are slighter works but skilfully craftet and with a melodic charm ... and throughout Jaroussky proves an alluring advocate ... Altogether, this is accomplished music-making with characteristically stylish playing by the Freiburg Baroque Orchestra".


Fono Forum

2016 Dezember

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By

Jürgen Kesting

2016 Dezember

"Ungeachtet des spezifischen klanglichen Zauber der Stimme bereitet die Aufnahme eine milde Enttäuschung, weil Jaroussky den Rezitativen die deklamatorische Energie schuldig bleibt, dies auch wegen etlicher Probleme mit der Lautung der Vokale und der Formung der Konsonanten".


Diapason

2016 novembre

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By

Sophie Roughol

2016 novembre


BBC music magazine

2017 January

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By

Anna Picard

2017 January

"Iestyn Davies [gives a] poised, sober performance ... Arcangelo's strings have a beautifully firm sound, with plenty of bow and intelligent details from the lute, while oboist Katharina Spreckelsen plays elegantly ... The Sinfonias from BWV 52 and BWV 174 are pleasingly earthy, with rustic horns".


Diapason

2017 juin

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By

Sylvain Gasser

2017 juin


Early music today

2017 June-August

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By

Adrian Horsewood

2017 June-August

"'Ich habe genug' ... test almost all facets of a singer's technical and expressive abilities. It goes without saying that Davies passes with flying colours, bringing ... a sensuous glow to the famous central, lullaby-like 'Schlummert ein' ... A great treat for us all; snap [it] up without hesitation".


The gramophone

2018 February

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By

Alexandra Coghlan

2018 February

"The two Brandenburgs are a earthy delight, their individual solo colours well balanced in the mix ... period string-playing of the very finest order".


Opus

2016, nr. 72

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Hanna Höglund

2016, nr. 72

"Sånär som på det tyska uttalet är detta ännu en briljant inspelning med världens just nu kanske bästa countertenor, Philippe Jaroussky ... Det är lätt att imponeras av countertenorers höjdtoner i allmänhet, och i synnerhet Jaroussky slänger ur sig sådana på det mest overkligt övernaturliga vis utan att ens verka anstränga sig ... En lyckad avstickare ... som man bara vill stanna och vila i".


The gramophone

2016 December

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Lindsay Kemp

2016 December

"[Jaroussky's] manner is distinctive, not so much the honeyed, godlike flow of Andreas Scholl ... or David Daniels, as the vulnerable and reactive human soul declaiming recitatives with urgent detail ... In short, he is both less comfortable to listen to than Scholl and Daniels and more compelling ... The playing of the Freiburg Baroque Orchestra is absolutely first-class".


The gramophone

2017 January

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By

Jonathan Freeman-Attwood

2017 January

"Editor's choice: The dominant virtue in this fine collaboration between the outstanding Davies and Arcangelo lies in an unsentimental perspicacity, reassuring in its intelligence and deep sensitivity".