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Stephen Smoliar
The Recorder Magazine, September 2016

What is important about Brownlee’s lightness of touch is that it allows him to take a nuanced approach to both comedy and tragedy. His sensitivity to the texts he sings is further enhanced by a highly effective rapport with conductor Constantine Orbelian leading the Kaunas City Symphony Orchestra.

…most readers will probably want to…check out Brownlee’s approach to “Una furtiva lagrima” (a furtive tear) from L’elisir. They will not be disappointed. This aria makes its mark not only through the quiet sense of revelation expressed by Nemorino but also by Donizetti’s highly effective restraint in the instrumental resources he engages. In the bel canto repertoire, this is one aria in which even the most intensely serious listener is rewarded. © 2016 The Rehearsal Studio Read complete review



Michael Cookson
MusicWeb International, January 2015

A highly assured performer, [Brownlee] displays an appealing timbre and excellent voice control especially in the top register.

Immediately noticeable is his crystal-clear diction and impressive reach. For me the highlight is the cabaletta, O fiamma soave from La Donna del Lago based on a Sir Walter Scott epic poem set in the turmoil of the sixteenth century Scottish Highlands. As the love-struck Umberto who has come to take his lover Elena away from the imminent danger of battle, the outstanding Brownlee sings with passionate expression; once again demonstrating his high register security.

Praise is due to orchestra and conductor for providing creditable support throughout. © 2015 MusicWeb International Read complete review




Remy Franck
Pizzicato, November 2014

With his fresh and stylish singing, Lawrence Brownlee reveals himself as a genuine Rossini tenor. His voice is brilliant, the timbre pleasant and the technique exquisite. A delightful recital! © 2014 Pizzicato



Phil Muse
Audio Video Club of Atlanta, October 2014

In a choice program of eight arias from as many Rossini operas, American tenor Lawrence Brownlee shows us that his brilliant reputation is completely justified. This artist has a voice as liquid as golden honey but capable of rising to the peak of his range and intensity on the shortest notice. © 2014 Audio Video Club of Atlanta Read complete review



Richard Sininger
American Record Guide, September 2014

There’s just nothing to complain about here. Brownlee is one of the world’s great singers. He is ably accompanied by the Kaunas City Symphony, led by Constantine Orbelian. © 2014 American Record Guide Read complete review on American Record Guide



Donald Rosenberg
Gramophone, August 2014

Everything Lawrence Brownlee touches with his sterling tenor springs to expressive life. His timbre is honeyed, and he phrases with exceptional discernment and vibrancy.

And, to say the least, Brownlee has the technical prowess needed to tame the acrobatic beasts in the Rossini arias on his newest recording.

Brownlee manages these daring feats with bountiful panache.

All told, it’s a pleasurable excursion in the realm of Rossinian delights, with Orbelian and the Kaunas musicians serving as deft collaborators. © 2014 Gramophone Read complete review on Gramophone



Judith Malafronte
Opera News, August 2014

Brownlee employs his fresh sound with an aristocratic reserve that always serves the musical style. Runs and figuration are perfectly poised…and he has a way of brightening vowels effectively to achieve immediacy in the declamation…High notes are secure and full, without a hint of strain or nasality…and Brownlee’s sense of timing for cadenzas and held notes is well developed. © 2014 Opera News Read complete review



Mike Silverman
Boston.com, April 2014

Brownlees’s album—his first compilation of arias with orchestra—is all Rossini and all splendid. © 2014 Boston.com Read complete review



David Shengold
Time Out New York, March 2014

This…recital CD presents eight numbers from as many works…it’s nice for collectors to have worthy accounts of Zelmira and L’occasione fa il ladro…In the latter opera’s “D’ogni più sacro impegno,” Brownlee takes a long, leisurely weekend on his shining last high note. His breath control, impressive throughout, is wedded to dazzling agility…

In just one example, Brownlee starts the first track (from La gazza ladra) with a melting messa di voce ornament, throws in a high D in recitative and dispatches the aria’s demanding passagework like child’s play. Every cut on the disc supplies similarly stylish thrills. © 2014 Time Out New York Read complete review





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