Purcell: O solitude, my sweetest choice, Z406

“Ethereal yet visceral, Scholl's voice is the dream vehicle for Purcell...Stefano Montanari coaxes thrilling playing from Accademia Bizantina, who dance and swagger, throb and pulsate with true Latin passion. Their continuo realisations - here delicate and intimate, there audaciously jazzy - are an unceasing delight.” BBC Music Magazine, January 2011 *****

“that famously otherworldly tone [is] often breathtakingly in evidence...His decision to tackle Dido's lament has generated controversy: in fact, his performance is extraordinarily haunting...O Dive Custos is arguably the disc's high point. The Academia Bizantina, meanwhile, are on fine form for Stefano Montanari” The Guardian, 13th January 2011 ****

“Scholl understands the importance of words and remains the countertenor of choice: it’s not so much the intelligence and grace that make his artistry so instantly recognisable, as the hypnotically soothing quality of his voice...Among the many joys of this exceptional recital are the accompaniments by Accademia Bizantina.” Financial Times, 21st January 2011 *****

“Few counter-tenors maintain the width of repertoire or vocal acumen of this artist...his Cold Song from “King Arthur” [is] a shivering, juddering triumph, and the entire package pleases.” The Times, 22nd January 2011 ****

“his way with words has strengthened...the two countertenors combine marvellously in O dive custos” Gramophone Magazine, March 2011

“There's no doubt about the theatrical intent driving Scholl's interpretations and the flamboyant work of Italian period instrument band, Accademia Bizantina. The latter's lively continuo group and multi-hued sounds certainly catch the full flavour...few singers...can match him for style and intelligent musicianship in this repertoire.” Classic FM Magazine, March 2011 ****

“[The disc] contains much in the way of sympathetic vocal and instrumental colouring, not to mention some very fine singing and playing, full-stop...Stefano Montanari's stylish violin-playing [in Fairest Isle], as elsewhere, is a treat in itself...Scholl [brings] an animated, urgent quality to his performance, the tone rich and resonant, the diction razor-sharp.” International Record Review, April 2011

“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

'Those who need all of Purcell's songs at their fingertips should invest in Hyperion's three-disk survey of secular songs, with outstanding performances by Barbara Bonney, Rogers Covey-Crump and James Bowman' (The New York Times)

“This third and last volume of Purcell's non- theatrical secular songs consummates a most rewarding survey of 87 songs with more of the same: a vocal palette of six singers who are by now so steeped in the nuances of Purcell's strains that even the slightest offering sparkles with something memorable. The treasure is shared between Barbara Bonney and Susan Gritton who complement each other superbly.
Gritton, becoming more refined in characterisation and tonal colour by the day, is allotted the free-style and dramatic pieces while to Bonney's fluid and sensual melisma is designated the more strophic or cantabile settings. Lovely Albina's comeashore is one of the composer's most mature creations, tantalisingly hinting at a new, tautly designed and classically balanced type of song.
This work, If music be the food of love (the best of the three versions) and I came, I saw are striking examples of how exceptionally Bonney negotiates Purcell's skipping and curling contours and makes these songs sound even finer creations than we previously thought. From silent shades ('Bess of Bedlam') is Purcell's quintessential mad-song and Gritton has the measure of it all the way; packed full of incident, imagery and musical detail, her narration is clear and finely judged, reporting the tale with irony and change of colour. The CD is beautifully documented.” Gramophone Classical Music Guide, 2010

“Barna-Sabadus's strikingly high countertenor displays alluring tone rather than clear diction. He's stylishly accompanied” BBC Music Magazine, June 2013 ****

“Most effective are the ballads and lighter, folksy numbers, where Mields's agile voice enchants...Purists may fgind the ensemble takes a few too many liberties, orchestrating these pieces wioth a battery of percussion, wind and stringed instruments, but there's no denying that it's all done with terrific style and bravura.” BBC Music Magazine, September 2012 ****

“Mields has a fine, conventional voice for this kind of music - pure, pretty and with clear, largely correct English - and she enters into the spirit to the point of the odd deranged cackle, sob or moan...Ultimately they seem more like the kind of adaptations you might hear in a modern staging of a Restoration play than a reflection of the 17th-century sound world.” Gramophone Magazine, September 2012