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John W Barker
American Record Guide, September 2016

There is much very enjoyable and often quite lovely music in these scores, if nothing quite on the level of beauty or imagination of the grander theater works. Mallon’s two singers are very accomplished. Mallon seems to have a leisurely and relaxed feeling for all this music, leading in affectionate if understated fashion. © 2016 American Record Guide Read complete review on American Record Guide



Michael Greenhalgh
MusicWeb International, August 2016

Mallon, usually doubling the first violin line with recorder or, less frequently, oboe, adding tambourine at repeats and sometimes featuring a side drum, brings a more raucous sense of living theatre.

On this CD, Johane Ansell negotiates the rapid melismas of the first section with fretful, restless clarity… © 2016 MusicWeb International Read complete review



Grego Applegate Edwards
Gapplegate Classical-Modern Music Review, June 2016

…music of great charm, lyricism or jauntiness in turn, performed beautifully by the Aradia Ensemble under Kevin Mallon, with soloists soprano Johane Ansell and baritone Jason Nedecky in fine form. © 2016 Gapplegate Classical-Modern Music Review Read complete review



David Denton
David's Review Corner, May 2016

Though Henry Purcell is today looked upon as one of the greatest Britsh writers of sacred music in the 17th century, he also very much enjoyed writing for the theatre. In his second disc of ‘Theatre Music’, the Irish-born conductor, Kevin Mallon, looks at his scored linked to plays, the disc largely devoted to incidental music written for two plays that enjoyed enormous success. For a composer of sacred music, it comes as a surprise that became involved in a risqué comedy—The Married Beau (or The Curious Impertinent, to use its alternative title). He supplied just one song, but there was purely instrumental sections including an overture, three airs and three hornpipes, all written in a very elegant manner. The other play, The Old Bachelor, was written by William Cosgrove and also dealt with the folly of marriage, particularly when you are old and she is young, Purcell contributing a song, duet and nine orchestral pieces mostly in dance form. Songs from The Spanish Frier (or the Double Discovery) and Aureng-Zebe find Johane Ansell with a wide vocal range though best heard at the top end of the soprano range. That leaves the songs and duets from Sir Anthony Love (or the Rambling Lady) to introduce the well-focused baritone of Jason Nedecky. The instruments have the sound period that we imagine would have been heard in the 17th century, while the singers perform in as they would in any musical period. Excellent sound. © 2016 David’s Review Corner





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