Vivaldi: Nulla in mundo pax sincera, motet for soprano, strings & continuo, RV 630

“Manahan Thomas manages all with pleasing athleticism, great textural clarity and an avoidance of anything in the way of intrusive mannerism. She and the sympathetic support provided by Florilegium are sensible to Vivaldi's deftly portrayed images complementing the text...All is played with finesse and affection by soloists and ripienists alike.” International Record Review, January 2012

“Elin Manahan Thomas is a youthful, bright and clean soloist with a strong core to the voice, a good instinct for when to apply vibrato and the technical agility required for throwing off Vivaldi's more virtuoso passages.” Gramophone Magazine, February 2012

“[Manahan Thomas's] fresh sounding, youthful voice, agile technique and secure intonation are a delight and are qualities that well serve the sometimes theatrical demands of Vivaldi's virtuoso writing...the interspersed instrumental concerots are played with vitality and finesse. Here is a disc from Florilegium that should disappoint few readers and it deserves to do well.” BBC Music Magazine, March 2012 *****

“The group's sound is less extroverted than many of its European contemporaries, but unbridled flamboyance would not be appropriate in this programme of sacred vocal music and concertos in the ecclesiastical manner...Overall, the stylish performances on this effectively programmed and well-recorded collection make a strong case for a nuanced and relatively understated approach to Vivaldi.” bbc.co.uk, 4th April 2012

“This is the best recording of Vivaldi's 'Summer' I've heard...at precisely 2.19 Benedetti performs a trill in which she only partially depresses the string, allowing a rainbow of stratospheric harmonics to colour the trill...Great recordings are made of tiny moments of unexpected brilliance like this” Classic FM Magazine, 2010 edition *****

“a lively celebration of Benedetti's Italian roots, shot through with some laser-sharp pyrotechnics, and brave work-in-progress as she squares up to period style with a modern instrument...Benedetti's 'Baroque' occasionally sounds like 'Kreisler with attitude'; the accent may not be pitch-perfect, but for sheer flair: Viva Italia!” BBC Music Magazine, October 2011 ****

“With a Baroque-type bow, using very little vibrato (but with modern strings), she produces a sound that, for the most part, is cool and clear but by no means inexpressive. The SCO match her elegant phrasing and provide an accompaniment that's alert, spirited and sensitive. It conveys a brightly polished image of the music, most enjoyable, and bringing a virtuoso aspect to the fore.” Gramophone Magazine, October 2011

“She hasn’t plunged into the field on a whim. She took lessons from Rachel Podger, the goddess of the Baroque violin. For colleagues she cross-fertilised, mixing the period specialist conductor Christian Curnyn with the bouncy non-specialist Scottish Chamber Orchestra. She also chose her repertory cannily...Throughout the disc Benedetti’s playing marries incisive Baroque attack with fuzzier romantic colouring.” The Times, 30th September 2011 ***

“The most blissful performances here are the pair of Vivaldi arias transcribed for violin to take the vocal lines, which are elegant. Elsewhere, Veracini's "Largo" is treated with calm passion” The Independent, 7th October 2011 ***

Gramophone Critic's Choice

“…what really marks Thomas out is the humanity and intimacy of her very personal interpretations of such familiar pieces as Handel's 'Ombra Maio Fu' (which also features lovely trumpet playing by David Blackadder) and Dowland's 'Flow My Tears'. The final track Monteverdi's 'Pur Ti Miro', is an exemplary duet with countertenor Robin Blaze.” BBC Music Magazine, Proms 2007 ****

“Simone Kermes is an agile singer with a wide vocal range who is comfortably able to negotiate Vivaldi's virtuoso writing with technical panache and expressive warmth.” BBC Music Magazine, April 2007 *****

“Opening with one of the composer's most thrillingly virtuoso motets, In furore iustissimae irae, the Venice Baroque Orchestra go on to one of his most beautiful, Nullo in mundo pax. And if the other two are less individually striking, they are nevertheless well worth hearing; In turbato mare opens with a stomach-churning depiction of those raging seas that are always tossing the soul so, and later conjures dread at mention of the 'horrors of death', while Sum in medio tempestatum treats a similar subject with a touch more mid-century leisure and politeness.
The disc is, of course, a vehicle for Simone Kermes, whose bright vocal talents have so far impressed in a number of Baroque operas but here make their solo recording debut. She proves more than a match for Vivaldi's typically athletic vocal demands – indeed adds to them in a number of tessitura-extending cadenzas – and makes much of the music's bold contrasts. Some may look for more innocence in the gentler music, where her mini-vibrato can sound rather knowing, but in general Kermes's performances give nothing but pleasure. The orchestra is forthright and exciting, with a satisfyingly full, organ-enriched sound, marred only by some of the cheesy lute embellishments.
A straightforward Vivaldi disc, but one full of the strength of expertise.” Gramophone Classical Music Guide, 2010

“…Simone Kermes… proves more than a match for Vivaldi's typically athletic vocal demands - indeed adds to them in a number of tessitura-extending cadenzas - and makes much of the music's bold contrasts. The orchestra is forthright and exciting, with a satisfying full, organ-enriched sound...” Gramophone Magazine, June 2007