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Raymond Beegle
Fanfare, January 2018

Unlike the great American countertenor Russell Oberlin, or the young Russian Alexander Gorbatenko, who sing in their modal voice, Yaniv d’Or chooses to sing in a rather dry, rather grainy falsetto, evoking either the medieval austerity of stone cathedrals or the primness of salons and jewel box theaters of the Baroque period. …More successful is Hahn’s charming Á Chloris, written in the Baroque fashion, and played with grace and restraint by pianist Dan Deutsch, a superb musician with an acute sense of style. © 2018 Fanfare Read complete review

David J. Baker
Opera News, November 2017

The impressions left by this recording fall into three categories. D’Or is joined here by the sensitive accompanist Dan Deutsch, and the two of them triumph, hands down, in one kind of mélodie: the slow, unwinding mood exercises, not without their moments of adventure, that are typical in the late-nineteenth-century work of Henri Duparc and Claude Debussy.

Oddly, the singer has to overcome a certain handicap in the stellar performance of Duparc’s “L’Invitation au Voyage,” based on Baudelaire’s seductive poem evoking a far-off escape into “ordre et beauté, luxe, calme et volupté.” D’Or’s treatment of certain French vowels seems gauche, but that fault is insignificant in the larger scheme of the song—its compelling rhythmic waves, its inexorably expanding, layered vocal timbres.

What impresses here is not just the exciting grasp of mood, but the ability to heighten it as the song continues to develop, making the transformed refrain at the end feel as if the journey had been experienced, not just described.

The second aspect of this program is impressive, with some qualifications. These artists’ performance of Schumann’s Dichterliebe is very professional. The singer is prompt to respond to the sixteen songs’ instant challenges, and he registers the wide range of emotions clearly—from hesitancy and whimsy to pain and bitterness—in a performance of considerable dynamism and penetration. His timbre is mercurial, and the awareness of text implies a narrative line that helps to unify the cycle. © 2017 Opera News Read complete review

Göran Forsling
MusicWeb International, October 2017

Yaniv d’Or produces a well-rounded sound, he is sensitive to nuances and sings the inward songs, Aus meinen Tränen sprießen, for instance (tr. 2) or Wenn ich in deine Augen seh’ (tr. 4) with great warmth. But some high notes are delivered at full voice. …Occasionally he also adopts a hooting tone and exaggerates fortes, and some accents could have been less marked but basically this is a fascinating voice, employed with taste. Im Rhein, im heiligen Strome (tr. 6) is a song where lighter-voiced singers can sound pale and undernourished but this is not the case here. …he is completely at ease with the music. © 2017 MusicWeb International Read complete review

George Hall
BBC Music Magazine, October 2017


[Yaniv d’Or] can be an intelligent interpreter. ‘Hör’ ich das Liedchen klingen’ goes well from every point of view, and he injects colour into ‘Ich hab’ im Traum geweinet’…

He’s better suited to the more sensuous tone of Duparc’s L’inviation au voyage and the four Debussy settings, through text sometimes needs more attention both as sound and as meaning. Most successful are the Poulenc items, especially the early cycle Le Bestiaire—heard in the composer’s own arrangement of the original for voice and ensemble—to which d’Or brings the appropriate element of boulevardier wit, and the simple eloquence of his interpretation of the Charles d’Orléans text, ‘Priez pour paix’. Throughout, Dan Deutsch’s considered accompaniments are finely judged. © 2017 BBC Music Magazine

Review Corner, August 2017

This is a beautiful collection of music, but quiet. It’s one for reflective evenings alone; they’re love songs sung sparsely by countertenor (falsetto) Yaniv d’Or. Dan Deutsch accompanies equally sparsely on the piano.

The lead piece on here is Schumann’s song cycle Dichterliebe, based on poems by Heinrich Heine who, like d’Or, is/was Jewish. Schumann dedicated the work to a soprano; while the piece is apparently normally sung by a tenor, d’Or sings even higher, in keys appropriate for a bass voice, the vocal raised an octave.

It’s got an air of melancholy about it, and it’s very quiet, in that there’s a lot of silence around the sounds. It’s all rather lovely. © 2017 Review Corner Read complete review

David Denton
David's Review Corner, June 2017

We have become so used to hearing Schumann’s song cycle, Dichterliebe, sung by a baritone or tenor voice that we forget that he originally composed it for a soprano. It was a strange choice as the texts by the poet, Heine, are male orientated, yet with that aegis, a male singer working in a female register would have a degree of authenticity. Trained at London’s Guildhall School of Music, Yaniv d’Or has a voice of intrinsic beauty, and in songs that call purely for that sound, he is a highly persuasive exponent, adding an impassioned quality in such songs as Ich grolle nicht. Elsewhere I find those dark moments, in which the poems abound, are not within his voice, particularly so in Ich hab’ im Traum geweinet, and no amount of effort from the pianist, Dan Deutsch, can bring the chilling impact of those deeply moving songs that would have been well within the scope of Schumann chosen soprano, Wilhelmine Schröder-Devrient, a celebrated Wagnerian. D’Or, so ideal for the Baroque era, is more suited to the group of French songs from the 19th and 20th century, though these are the prerogative of sopranos, the countertenor voice missing out on the expressive quality and warmth of the female voice. The recorded sound is very pleasing, but at fifty-three minutes is a very short measure. © 2017 David’s Review Corner

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