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Judith Malafronte
Opera News, July 2016

[The] pleasant surprise is Taylor, an American countertenor whose graceful, intelligent singing brings these pieces vividly to life.

Taylor’s intimate and low-key delivery is perfect for this chamber music, and his continuo team of harpsichord, theorbo and cello supports him flexibly and admirably. Deborah Fox’s theorbo softens the texture of “Rendimi il core, ingrate,” while Jory Vinikour’s harpsichord playing brings sparkle to “Addio, Tirsi.” For the many imitative passages between cello and voice, Ann Marie Morgan plays with lyricism and sensitivity. © 2016 Opera News Read complete review



Patrick McCoy
Examiner.com, April 2016

The California based countertenor Darryl Taylor headlines this recording complete solo cantatas by Rosanna Scalfi Marcello, the wife of the perhaps her more known husband, composer Benedetto Marcello. Dr Taylor is widely respected as a performer and professor of voice. He is founder of the African-American Artsong Alliance and serves on the music faculty of the University of California at Irvine, where this project was recorded. © 2016 Examiner.com



William J. Zick
AfriClassical, April 2016

The countertenor [Darryl Taylor] has brought to life a neglected masterwork of an 18th century composer who overcame profound gender discrimination to practice her craft as a composer and preserve her compelling compositions for the benefit of future generations.

Darryl Taylor is to be congratulated on his choice of this repertoire, and on the exquisite care with which he performs it. The recording is everything one could ask. The perfection of his vocal delivery is a marvel which is not diminished by repeated hearings. © 2016 AfriClassical Read complete review



IAWM Journal – International Alliance for Women in Music

This two-disc set brings to glorious life the twelve solo cantatas composed—and undoubtedly performed—by the celebrated early-eighteenth-century Venetian singer Rosanna Scalfi Marcello…His voice has the wide range, flexibility, and expressive intensity that listeners reported as among the marvels of the composer’s own performances in the 1720s. The continuo group is likewise first-rate…Throughout the CD Darryl Taylor and his instrumentalists remain faithful to the written score while making creative changes in accordance with eighteenth-century musical practice. The continuo players employ a range of instrumental colors and textures. They move from full chords to sparser harmonies, or no chords at all, as befits the poetry. In the return of the A section in da capo arias, Taylor employs various devices to elaborate and bring new meaning to the repeat of the initial stanza—ornamentation, pauses, and changes of tempo, pitch, and emphasis. The recitatives, with their complex harmonic shifts to convey the nuances of poetic feeling, likewise receive skilled and sensitive readings from this ensemble. Musically satisfying and historically informed, this is a recording to be treasured. © 2016 IAWM Journal – International Alliance for Women in Music





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