Monteverdi: Quel sguardo sdegnosetto

“It's an intriguing and enjoyable programme...The English Concert provides suitable support throughout, from solo theorbo on Dowland's "What if I never speed?" to the trio of harpsichord, theorbo and viola da gamba with her delightful duet with counter-tenor Andreas Scholl” The Independent, 10th June 2011 ****

“This is a charming recital that shows this popular soprano at her best...she has plenty of vivacity and fresh-toned sweetness. Guardian Angels, from Handel’s “The Triumph of Time and Truth”, is a highlight: a little-known but beautiful aria, sung here with poise and allure.” The Telegraph, 7th July 2011 ****

“she keeps things light on this disc, and for the greater part only shows off her many splendid advantages. Indeed, her flirtatious performance of the famous lute-song Come again can rank as one of the most captivating on disc. The duets with Scholl are a delight too. De Niese's sheer joy in singing leaps off the CD and her emotional immediacy is hard to resist.” Classic FM Magazine, August 2011 ****

“In Dowland's Come again, sweet love doth now invite and What if I never speed?, she sounds like a sexier Emma Kirkby...The English Concert under its Music Director Harry Bicket provides the stylish orchestral and instrumental backing...You really hear the personality behind the voice - the 'Beauty of the Baroque' is, without question, a real artist.” International Record Review, July/August 2011

“Carolyn Sampson’s pure soprano cossets the words, savouring their expressive implications, relishing their shifts of rhythm and subtly sighing with bliss, yearning or heartache, depending on the circumstances.” The Telegraph, 29th January 2010 ****

“One of the chief delights... is the opportunity to hear the theorbo at close quarters...in the skilled hands of Matthew Wadsworth it takes centre stage, both as a solo instrument and as an exquisite companion to Carolyn Sampson's sweet, lyrical soprano...a ravishing programme of beguiling melancholia.” The Observer, 7th February 2010

“Wadsworth's lute and theorbo...craft a seamless expressive narrative...Sampson is careful never to over-egg the grief, always keeping in reserve extremities of emotion for the very darkest moments - and she never distorts the musical line by over-dramatisation.” BBC Music Magazine, May 2010 *****

“Carolyn Sampson and lutenist Matthew Wadsworth are well matched protagonists and in the main they cope equally well with both repertories. Sampson's diction is especially clear in the English selections, which come across very naturally.” Gramophone Magazine, September 2010

“Both artists respond with dark-shaded tones to a music that is touched by the aching melancholy of its time and place.” Sunday Times, 12th December 2010 ***

“Purists may snip at the friskiness of Claudio Cavina’s period band in these mostly jocular Monteverdi madrigals — sometimes they seem about to discover baroque jazz. Those even more pedantic might cast aspersions at the solo soprano Emanuela Galli for her earthy timbre and for teasing the notes. Myself, I appreciate La Venexiana’s energy.” The Times, 8th August 2009 ***

“Claudio Cavina's orchestration is discreet; Galli's singing blazingly theatrical; it's the perfect ending to a wonderfully varied and always imaginative recital.” The Guardian, 7th August 2009 **** (about Lamento d'Arianna)

“It is a strange album of “musical jokes” that ends with one of the most heart-rending outpourings of grief ever written for the theatre: the Lamento d’Arianna...Here, in a discreet “orchestration” by Cavina, it is the climax of a programme by the soprano Emanuela Galli, sumptuous in tone, noble in demeanour and trenchant in delivery of the Italian text.” Sunday Times, 26th July 2009 ****

“Claudio Cavina takes a flexible approach to what he calls Monteverdi's "light" music… Galli's breathy opening phrase of "Con que soavità" is exquisitely erotic… "Sì dolc'è il tormento" and "Et è pur dunque vero" both feature the effective combination of Doron David Sherwin's sensitive cornetto playing and Galli's emotive singing. The recital concludes with Cavina's new orchestration of the lament from the lost opera Arianna (1608); a sensuous string ensemble gives eloquent support to Galli, whose singing ideally conveys impassioned lamentation without becoming distorted.” Gramophone Magazine, Awards Issue 2009

“…Emanuela Galli… brings panache and rhythmic flexibility to 'Quel sguardo', and plaintiveness to 'Si dolc'è il tormento' - helped by the jazzy languidity of Doron Sherwin's cornett playing. …a spirited disc full of interesting music.” BBC Music Magazine, October 2009 ****