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John W. Barker
American Record Guide, September 2019

I have admired Sheehan for his work at the Boston Early Music Festival and for its byproduct recordings, in all of which he worked productively with festival director Stubbs. The singer’s beautifully rounded voice, his versatility, his earnest artistic commitment, and his pleasing stage personality have made him a favorite performer for me.

…This is a provocative and informative program that is worth returning to repeatedly. © 2019 American Record Guide Read complete review on American Record Guide



David Vickers
Gramophone, August 2019

This is the third recital devoted to John Beard, the singer for whom Handel wrote almost every significant tenor role between Ariodante (1735) and Jephtha (1752). Aaron Sheehan’s honeyed singing is well suited to these extracts from English odes and oratorios, and lutenist Stephen Stubbs directs the Pacific MusicWorks Orchestra with zippy conversational fluency (understandably, theorbo or guitar are at the forefront more than usual). © 2019 Gramophone Read complete review on Gramophone



Raymond Tuttle
Fanfare, August 2019

Sheehan’s singing is musically stylish and emotionally persuasive. His voice has the appropriate weight and range of colors needed to create all of these different characters or moods. It is masculine but never brassy or blaring. It’s also exciting, and part of that excitement comes from Stephen Stubbs and the Pacific MusicWorks Orchestra.

This is an excellent team effort, but it is the polish and excitement of Sheehan’s singing that make this CD a Want List candidate. © 2019 Fanfare Read complete review



Göran Forsling
MusicWeb International, May 2019

Listening to Sheehan/Stubbs in isolation I have no objections at all to either the singing or the readings. And it’s good to have this music available without having to consult the complete works when one feels for a round of Handel tenor arias. Total eclipse is certainly most touching. © 2019 MusicWeb International Read complete review



Joseph Newsome
Voix des Arts, May 2019

In the performance on this disc, the Act Two air ‘Your charms to ruin led the way’ is intriguingly introspective…Sheehan’s vocalism touchingly imparting the character’s conflicting weariness and renewed hope. As assured in descents below the stave as in passages at the top of the range, Sheehan sings this music with confidence that does not beget complacency.

That Pacific Music Works’ goal of recording Aaron Sheehan’s performances of music that he was born to sing came to fruition is a triumph of planning that would have delighted Händel. © 2019 Voix des Arts Read complete review



David Denton
David's Review Corner, April 2019

Vocal excerpt programmes were once highly popular on disc, and here the American award winning tenor, Aaron Sheehan, has chosen music by Handel. It takes, as its theme, the life of the English tenor, John Beard, who was discovered by the composer while Beard was still a teenager. It was then chronicled that many of Handel’s tenor solos in his English oratorios were intended to display the unique quality of the young man. Aaron Sheehan was already enjoying a major career when he recorded a Baroque opera by Charpentier, a disc that was to win a top American award in 2015. At that point it was decided to make a solo record with Sheehan who selected his own programme. Of course we have no idea of the style of singing in the Eighteenth century, but we do know in the past fifty years changes have taken place, with Sheehan being among the mainstream tenors of our time. He does not indulge in the overly decorated approach that is elsewhere receiving praise in Western Europe, but he brings a robust characterisation of the various roles, Samson being the major benefactor with seven excerpts. He enjoys the backing of the very accomplished, Pacific MusicWorks, a chamber group of fifteen period instruments based in Washington, and they also make an extended contribution with two Concerti Grossi. I commend them to you in their uncomplicated approach, retaining a nice forward momentum without sounding rushed, balance between instruments being exemplary. Enjoy the opening of the second of opus 3 that has deliciously sprung rhythms, the bassoon, throughout both Concerti, given a prominence that provides the basis for the chosen tempos. The engineers offer a first class recording. © 2019 David’s Review Corner





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