Kate Royal

“The prime attraction for many here… Kate Royal in the popular Eichendorff Liederkreis… Royal's pure, pellucid tone, free-soaring top notes… and refined musicianship give constant pleasure.” Gramophone Magazine, January 2008

“In this cycle of dusk and shadows there are two or three songs that always seem to elude a bright, lyric soprano; and for all her beauty of voice and care for phrasing, Royal doesn't quite catch the fear and eeriness of 'Zwielicht' (which here sounds merely melancholy) or the sudden sense of isolation and dread at the end of 'Im Walde'. Other singers, too, have made 'Waldesgespräch' more scary, though Royal does touchingly suggest a human sadness in the spooky woodland drama.
But these are minor quibbles. Abetted by Johnson's ever-sentient keyboard-playing, Royal reveals a true understanding of Schumann's Innigkeit, whether in the suppressed passion of the opening 'In der Fremde' (the notorious phrase beginning 'Und über mir rauscht' taken effortlessly in a single breath) and 'Die Stille' (where she avoids the trap of ingénue coyness), the exquisite poise of 'Die Mondnacht' or the tremulous excitement and sense of imminent revelation in 'Schöne Fremde'. In the final 'Frühlingsnacht', often rushed off its feet, she and Johnson catch the elusive mix of secretiveness and ecstasy to perfection.
The remainder of the disc is given over to curiosities and rarities. Despite the eloquent declamation of actor Christoph Bantzer, it's hard to work up much enthusiasm for three 'melodramas' which too easily suggest silentmovie music. But there are innocent, Biedermeier delights in assorted duets, sung with bright-eyed eagerness by Felicity Lott and Ann Murray, and in three settings of Emanuel Geibel, beginning with a duet in Schumann's most cosy-comfy vein and ending with a mildly exotic ensemble evoking the gypsy life.
Among a clutch of young singers making cameo appearances, the virginal-toned Lydia Teuscher is true and touching in 'Die Nonne' and in the virtually unknown 'Frühlingsgrüsse', whose shy, halting lyricism is so typical of late Schumann.
Collectors of this revelatory series will need no reminder that Johnson writes about the music as discerningly and eloquently as he plays.” Gramophone Classical Music Guide, 2010

“Creamy and pure, Royal's voice is directly in the aristocratic line of Kiri Te Kanewa and Reneé Fleming” Gramophone Magazine

“This CD represents something of a triumph not for one young artist but for two. ENO's new music director, Edward Gardner, conducts the accompaniments, with the Academy of St Martin's on fine form. Kate Royal matches him precisely. Each item is beautifully vocalised, but she too is alert to detail. In the Ravel Vocalise en forme de habanera, she finesses her tone and colour and even her pitch to give us the sensual, Spanish, hot-summer-afternoon feel of the piece. In Delibes's Les filles de Cadix, her trills are a delight, but so is the immediacy of her response to the rhythms.” BBC Music Magazine, September 2007 *****

“Royal’s voice is just sublime; rich, warm and pure, it is able to be both lightly playful in Canteloube’s “Malurous qu’o uno fenno”, and languorously dreamy in Strauss’s “Wiegenlied”...What really sets her apart, though, is her ability to get under the skin of a song’s lyrics to take on their emotions...Royal is much more than just a beautiful voice. This is music and singing to savour.” Charlotte Gardner, bbc.co.uk, 31st August 2007

“Kate Royal is just at the start of her career, yet there is a touch of greatness there already” The Times

“Eight years in the making, Ecce Cor Meum is Paul McCartney's fourth classical album… In the opening 'Spiritus' McCartney cleverly splits the text (English, with some Latin) spatially and antiphonally between the different sets of voices. There are plenty of effective ideas in the other four movements, including fine, idiomatic writing for soprano Kate Royal in the 'Gratia', a plangent oboe solo in the Interlude: 'Lament', and bold use of the organ in the concluding 'Ecce Cor Meum'.” BBC Music Magazine, October 2006 ****

“She is a natural communicator, has all the ingredients for an important career – musicality, a lyric soprano of rare loveliness, a poised and dignified manner – and looks gorgeous too” The Sunday Times

“Erwin Stein's reduction, for solo string quintet (including double bass), flute doubling piccolo, oboe doubling cor anglais, clarinet doubling bass clarinet, piano, harmonium and percussion, was prepared at a time when even the members of Arnold Schoenberg's immediate circle had limited access to the real thing. Even today, some find the transcription focuses the mind wonderfully on the music's contrapuntal essence, others that it is intrinsically a period piece, more redolent of the palm court. Suffice to say that Douglas Boyd and his group offer a performance that is unfailingly fresh and alert.
Andrew Keener's production is the crispest, most immediate the score has received on disc.
Out goes evocative distancing. In comes the tangible wheeze of the harmonium, the respiration of sundry woodwind players and the lowlevel vocalising of Boyd himself.
Douglas Boyd's Mahler may feel overly straightforward but he knows the territory, having directed Schoenberg's reduction of Das Lied as well as Mahler's own string quartet arrangements in Manchester. He has further aces up his sleeve: the helpful booklet-notes by Philip Borg Wheeler, the participation of Kate Royal, freshvoiced soprano winner of the 2004 Kathleen Ferrier competition and, on CD, the highly competitive price.” Gramophone Classical Music Guide, 2010

“Among the singers, Kate Royal stands out for the warmth of her characterisation in the central soprano role; but the entire cast seems to have thrown itself into the project with enthusiasm.” BBC Music Magazine, October 2005

“Helmut Rilling’s fine sense of style makes this recording immediately accessible, with tempos that suit the music quite well. At the same time, his deft handling of the orchestra contributes another dimension to this score.” Opera Today