Purcell: Man is for the woman made (from The Mock Marriage, Z605)

“Carolyn Sampson's luminescent soprano, with its easeful enunciation, seemingly instinctive ornamentation, and total lack of self-consciousness captures the bittersweet 'affects' of 'Sweeter than Roses', relishes the shifting tones of voice in the long nocturnal, 'From silent shades', and glows against a single theorbo accompaniment in the great 'Evening Hymn'. The instrumental palette, though limited, is exquisitely tuned to Sampson's voice and to the character of each piece.” BBC Music Magazine, December 2007 ****

“It is immediately obvious from the first few songs that this disc is truly special. Carolyn Sampson's singing is deliciously enjoyable for its sweet tuning, flawless intonation, impeccable stylishness, shapely phrasing of melodic lines and textural awareness.” Gramophone Magazine, December 2007

“Her tone is extraordinarily beautiful: natural, warm and unforced, with almost superhuman vocal athleticism” American Record Guide

“It is immediately obvious from the first few songs that this disc is truly special. Carolyn Sampson's singing is deliciously enjoyable for its sweet tuning, flawless intonation, impeccable stylishness, shapely phrasing of melodic lines and textual awareness. Each of these 19 songs, mostly taken from Purcell's operas and music for theatre plays, are given judicious performances.
The programme admirably shows the variety of characteristics and styles in Purcell's writing, and Sampson achieves the perfect degree of joyful radiance, seductiveness, witty comment or bittersweet melancholy in each song. 'Sweeter than roses' is an old warhorse for early music singers, but the poetry has seldom seemed so personal as it does in Sampson's heart-rending rendition. The Plaint from TheFairy Queen is beautifully done and the line 'he's gone and I shall never see him more' is remarkable for its stylish precision and emotional truthfulness (the performance is also notable for Sarah Sexton's superb solo violin-playing).
The supporting players always sound as if they are fully interested in the subtle nuances of the music. Well known favourites such as 'Music for a while', 'Fairest isle' and 'I attempt from love's sickness to fly' are excellently done, but several of the relatively obscure songs ('The fatal hour' and 'From silent shades') are shown to be equally rewarding and engaging. First-class new recordings of Purcell's music are much too rare, and this one deserves to be an enormous success.” Gramophone Classical Music Guide, 2010

“It's heartening to hear a German ensemble perform Purcell...with such conviction. Dorothee Mields is a fine soprano who is as confident in the melismas of "Sweeter than roses" as she is heartfelt in the broken phrases of 'O let me weep"; and, on the whole, her English is excellent.” Gramophone Magazine, October 2010

“Mields has barely a hint of an accent, and is marvellously expressive throughout, suggesting more than a passing familiarity with the English language...The instrumental playing...also has much to recommend it.” International Record Review, September 2010

“Paul Agnew's long experience in the realm of French Baroque music makes him particularly sensitive to le goût français, his voice supple enough to realise with exquisite grace the intricate, French-style recitatives and embellishments. In the simpler songs and laments, he croons with the seductive tones of a veritable chanteur de charme. Anne-Marie Lasla, Elizabeth Kenny and Blandine Rannou provide inspired continuo realisations, full of improvisatory flair and theatricality. The rapport between these four musicians lifts the music far beyond the written notes producing a perfect entente cordiale.” BBC Music Magazine, January 2010 *****

“Agnew gets it just right, and the ensemble behind him is flawless. There is the right blend of restraint and subtlety, with emotional guts – try I loved Fair Celia or the heartfelt Solitude with a wonderfully well-judged solo viol...Generally the performances are outstanding – and the idea of breaking up the Purcell songs with instrumental solos inspired.” Katie Greening, bbc.co.uk, 4th November 2009

“…a marvellous anthology of songs by Purcell. …separated by short instrumental pieces by other composers, giving well deserved solo spots to Anne-Marie Lasla and Elizabeth Kenny. If the tone is predominantly sombre, there's relief in "Man is for the woman made", Agnew's cheerful delivery perfectly complemented by a strumming guitar. The Evening Hymn - another ground - ends with a string of "Hallelujahs" that Agnew sings with an appropriate inwardness. ...it's the performances that count: magnificent.” Gramophone Magazine, January 2010

“…the elegant phrasing and sumptuous tonal character of the Paragon Quartet's playing… combines the warm intimacy of a viol consort with the fruit richness of shawms and crumhorns. Zazzo has one of the most flawless, beautifully-controlled voices you could wish to hear. ...his sound and technique rival even Scholl's and his diction is excellent in this astute mixture of familiar and lesser-known pieces.” BBC Music Magazine, Proms 2007 ****

“Zazzo's interpretation of the text and tasteful shaping of melody would grace any kind of performance style, and it is intriguing to hear some tenderly realised polyphonic lines delineated by the Paragon Saxophone Quartet. Byrd's "Lullaby" and Gibbon's "The Silver Swan" get an attractive alternative life here. ...a rare example of successfully reinventing "early" music.” Gramophone Magazine, October 2007