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Bertil van Boer
Fanfare, January 2017

The performance is sprightly and interesting in terms of the instruments used. At the bottom is a relentless bass line that offers up a kaleidoscope of rhythmic structures. It is the perfect foundation for d’Or’s clear and highly nuanced voice. This is music that will remain in the subconscious, for the number of earworms is legion. Add to it the excellent accompaniment of the two ensembles and one has an excellent disc of unusual music. © 2017 Fanfare Read complete review




Elinor Cooper
BBC Music Magazine, December 2016

The brainchild of Yaniv d’Or, this programme of mostly traditional and Baroque music that flourished in exiled communities is performed with panache by the countertenor and the period group he founded, Ensemble NAYA. © 2016 BBC Music Magazine



Charles Brewer
American Record Guide, November 2016

Compared to other countertenors I have heard in this repertoire, D’Or has much better diction and is more expressive. The arrangements (termed “folk-baroque”) are quite inventive, even when D’Or combines quotations from Vivaldi and Rameau with the anonymous Ladino song, ‘Hia mia’ (My Daughter), in order to express “love’s torment”. ...the entire recording is quite enjoyable. © 2016 American Record Guide Read complete review on American Record Guide




Laurence Vittes
Audiophile Audition, October 2016

Extraordinary stuff here, achingly personal and exquisitely lyrical. It’s music and poetry of numerous persecuted and exiled minority cultures that flourished throughout the Mediterranean and South America during the 17th century, the experience of these displaced communities retaining powerful resonance today. What makes this recording of these ancient reflections on beauty, love, joy and sorrow so profoundly expressive of basic human feelings and needs is the haunting voice and vulnerable phrasing of Yaniv d’Or’s haunting countertenor, backed by a folkish Baroque instrumental backdrop that suggests a Fellini fantasy.

The outstanding backing musicians, virtuosos steeped in history, represent an international polyglot: The Ensemble NAYA… © 2016 Audiophile Audition Read complete review



Laurence Vittes
The Huffington Post, September 2016

Extraordinary stuff here, achingly personal and exquisitely lyrical, selected from the music and poetry of numerous persecuted and exiled minority cultures that flourished throughout the Mediterranean and South America during the 17th century; and while the various musical influences are entertaining with their evocations of a broad swath of world musics from three centuries past, the performers are using the music to express experiences of displaced communities that are relevant today. On a purely artistic level, what makes these ancient reflections on beauty, love, joy and sorrow so profoundly expressive of basic human feelings and needs is Yaniv d’Or’s haunting, vulnerable countertenor, backed by a folkish Baroque instrumental backdrop that suggests a Fellini fantasy. © 2016 The Huffington Post




James Manheim
AllMusic.com, August 2016

…the main attraction is the limpid voice of d’Or, who has performed this program live and entranced audiences with darkly beautiful readings of traditional Ladino songs from across the Jewish diaspora. …An innovative and lovely recording. © 2016 Allmusic.com Read complete review



Edward Breen
Gramophone, August 2016

Latino Ladino is the latest album from the inventive countertenor Yaniv d’Or. His rich, honeyed falsetto guides us through various Ladino traditions, eventually crossing the Atlantic to the Missa Mexicana of 1677. Here d’Or multitracks both voices of Francisco Escalada’s Canten dos Jilguerillos, a wonderful flamenco-infused setting of two goldfinches watching over the Christ child. Flamenco also appears in the Ladino song ‘A la una yo naci’, which d’Or has traced as far as Peru. This sumptuous programme is enhanced by excellent booklet-notes from Richard Jones, who explains how each performance has been constructed in what d’Or himself often calls a folk-Baroque style. © 2016 Gramophone




Erica Jeal
The Guardian, July 2016

…the playing combines folk energy with baroque precision, and D’Or is a characterful singer, even if his tone, swinging between fruitiness and crooning, won’t be to all tastes. Even the most yearning laments are often couched in stamping flamenco-like rhythms, and it’s not all gloom, anyway: one particularly danceable number discusses the best way to cook aubergine. © 2016 The Guardian Read complete review



David Denton
David's Review Corner, July 2016

During the Seventeenth century, exiled ethnic cultures found a new home in the Mediterranean and South American countries taking with them their folk music. The countertenor, Yaniv d’Or, with the period instruments of Ensemble NAYA and Barrocade, has sought to recreate the original sounds the exiles would have enjoyed in the peaceful habitat of their new home. Setting the scene is a song on the Jewish words Shalom aleichem (Peace be with you), the seventeen tracks then taking us on a long journey from Peru and Chile to Spain and Greece, melodies of nostalgic sadness interspersed with vivacious dances from traditional sources. There are pieces you will recognise such as the instrumental track, Canarios, by the Spanish composer Gaspar Sanz, and Isaac Albéniz’s piano piece, Asturias, superbly played by Jacob Reuven and Eyal Leber in an arrangement for mandolin and guitar. I also seem to recognise La soledad de la nochada, and I presume this Greek melody must have been used elsewhere. Many are performed in d’Or’s arrangements that use his unique and perfectly focused voice more usually featured in opera performances. The first track is microphoned as a ‘pop’ song, afterwards settling down to a more natural balance between voice and instruments. © 2016 David’s Review Corner





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