Handel: Destructive War, thy limits know (from Belshazzar)

“Davies sings them superlatively well.” Sunday Times, 27th May 2012

“Davies includes some of the showstoppers written for [Guadagni] by Handel and Arne, delivering them with wonderful finesse and flawless tone. Orfeo itself, however, lies awkwardly for a counter-tenor, and Davies is occasionally forced to sacrifice intensity for the sake of integrity of line. The orchestral playing, from Arcangelo under Jonathan Cohen, is exquisite.” The Guardian, 7th June 2012 ****

“I think that if I had to nominate a CD to represent Iestyn Davies this one would be my choice.” International Record Review, July/August 2012

“Through his effortless line, countertenor Iestyn Davies revivifies Guadagni's Orphic powers...Whether drawing out sustained notes or knitting together filigreed coloratura, he is a paragon of gallant taste: poised, cool, elegant...Jonathan Cohen and his ensemble Arcangelo capture the rapid, unexpected twists of the younger Bach's radical imagination...this [is] a refreshingly ambitious and superbly realised recording.” BBC Music Magazine, August 2012 *****

“We prize Handel’s stage works for their tragic depth, but there is a gentler, nobler strain that explains the title given to this CD. Uniting two stylish Canadians, one a soprano and the other a contralto, it comprises 15 numbers from the English oratorios Handel wrote late in his career.” Financial Times, 15th October 2011 ***

“Gauvin's soprano has a warm timbre that blends beautifully with Lemieux's deep, dusky contralto. Individually, too, they are fabulous - Lemieux's opening 'Destructive war' is a dramatic tour de force. The heart of the disc is the profound, moving duet 'Streams of pleasure'...these polished, beautifully balanced performances are a pleasure to listen to” Classic FM Magazine, December 2011 ****

“Bright, edgy woodwind; neat violins; an ever-purposeful bass line; two healthful, smiling voices and some lovely music. There is much to admire...but there is little sense of dramatic context...If you can put that aside, you can relish the pizazz with which Lemieux and Gauvin attack each oratorio character's emotional state...It's a handsome, stylish, polished performance.” BBC Music Magazine, December 2011 ****

“There is indeed plenty to enjoy, especially where soprano Karina Gauvin is involved...[Lemieux] is a singer with temperament to burn...But in less overwrought music...I wanted less gusty phrasing, more care from true legato...If this is not quite the Handel recital I was hoping for, it's still worth investigating for Lemieux's viscerally exciting singing and, above all, Gauvin's ideal Handelian mix of grace and profound emotional truth.” Gramophone Magazine, December 2011

“Part of the attraction of [the] blending of voices is that Gauvin's middle tones have a warmth, almost mezzo-ish, which accords well with Lemieux's rich bloom...I am not one who throws accolades around like confetti, but the enjoyment that this CD has provided brings from me an IRR Outstanding recommendation. The disc is entitled 'Streams of Pleasure' but for me it is a full, flowing river.” International Record Review, November 2011

“The world's leading 'operatic' countertenor has sung on precious few of the abundant complete Handel recordings of the last decade so this selection of oratorio arias fills some of the gaps in the Daniels discography.
The American was to have sung Didymus in Paul McCreesh's Archiv recording of Theodora – the role of his Glyndebourne début in Peter Sellars's controversial 1995 staging – but he was unable to fit the preceding concerts into his burgeoning international schedule and was replaced by Robin Blaze. Not surprisingly, he includes four of Didymus's arias in his oratorio album, and rejoices in the wonderful music Handel composed for the young Italian castrato, Gaetano Guadagni. The sensuous colours of Daniels' falsetto are ideal in this music, which he sings with beguiling erotic ambiguity.
The same goes for David's ravishing 'O Lord, whose mercies numberless' – a prayer whose yearning melismata suggest passions more earthly than godly – from Saul. There's little cause for complaint, except perhaps about the use of the modern instrument Ensemble Orchestral de Paris rather than a period band, but at least John Nelson's conducting – particularly in the fast-moving numbers – is livelier than on his complete L'allegro. In excellent sound, this glorious disc comes highly recommended.” Gramophone Classical Music Guide, 2010