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William J Gatens
American Record Guide, May 2016

The two soloists are admirable in every way. Soprano Claire de Sevigné’s…performance of In Turbato Mare Irato is especially impressive. She is more than equal to the virtuosic demands of Vivaldi’s writing, never allowing the vocal acrobatics to spoil her luscious soprano tone. …Mezzo-soprano Maria Soulis delivers its often florid line with great poise and assurance. © 2016 American Record Guide Read complete review on American Record Guide



Michael De Sapio
Fanfare, May 2016

Soprano Claire de Sévigné and mezzo Maria Soulis are both excellent soloists, with fine timbres and good musical instincts. De Sévigné wields her pure, gleaming voice with nice precision, and Soulis is appreciably Italianate and particularly impressive in the Prata, virete aria, winding her dusky voice around its curves with suavely persuasive phrasing. This was my first exposure to the Aradia Ensemble, and I was most impressed by its warm period string sound (no abrasiveness here), neat precision of execution, and overall good taste. © 2016 Fanfare Read complete review



Paul E. Robinson
Musical Toronto, March 2016

…soprano Claire de Sévigné, who is outstanding in the motets In turbato mare irato RV 627 and O qui coeli terraeque serenitas RV 631, has a range that has to be heard to be believed. © 2016 Musical Toronto Read complete review



Dianne Wells
The WholeNote, January 2016

…Maria Soulis is alternately reflective and valiant, with marvellous tonal quality. The crisp execution of In exitu Israel, Laudate Dominum and Laetatus sum by the choral ensemble is splendid. To contrast her earlier motet, de Sévigné delivers O qui coeli terraeque serenitas in all its sweetness of calm repose. The core of Aradia, its excellent instrumental ensemble led by Kevin Mallon, is, as always, impeccable in performance. © 2016 The WholeNote Read complete review



Lisa Flynn
WFMT (Chicago), December 2015

In Vivaldi’s astonishing worklist there are numerous sacred choral pieces and around forty cantatas. Much of this music was written for the soloists and choir at the girls’ orphanage in Venice where he worked and taught. The motets and psalm settings in this volume, despite being religious works intended for performance during Mass, are often strikingly operatic. © 2015 WFMT (Chicago)



David Denton
David's Review Corner, November 2015

After a gap of seven years we now have the fourth volume of Vivaldi’s church music devoted to works largely for female solo voice and instrumental ensemble. Many were written for the soloists and choir of the Ospedale della Pietà where Vivaldi taught, and indicate the outstanding quality of soloists at his disposal, In turbato mare irato conceived as a soprano showpiece requiring considerable agility in the fast florid passages. Vestro Principi divino, scored for mezzo, is less demanding, and here some tempos are so held back that they begin to sound sluggish. Interspersed with the solo motets were psalm settings for three for four-part choir, here performed by a mixed gender group. It is thought that Vivaldi’s all-female choir would simply sing the bass line an octave higher. A highly commercial composer always looking for ways to recycle works, the mood of the solo motets come close to operatic arias disguised with sacred words. The Canadian soprano, Claire de Sévigné, finds her contribution exhilarating in its sheer brilliance, the accuracy of intonation and rhythmic exactitude being impeccable. The mezzo, Maria Soulis, is also offered ear-catching music in a story relating the overthrow of a tyrant in Invicti bellate. The period orchestra of the Aradia Ensemble is admirable under the direction of Kevin Mallon, though it is impossible in this recorded sound to recognise their period instrument credentials. © 2015 David’s Review Corner





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