Albums

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Vocal Recitals - Released September 14, 2018 | harmonia mundi

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice - Choc de Classica
A most unusual cabinet of curiosities 'Finding pleasure even in meditating on what causes one's pain': that neatly defines the theme of this album of music from the cusp of the sixteenth and seventeenth centuries. Here Italian and English madrigals rub shoulders with motets and Tenebrae responsories. A melancholic poetry that provided endless nourishment for musical creativity in the late Renaissance, and which Geoffroy Jourdain presents in his first recording for harmonia mundi. © harmonia mundi
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Vocal Recitals - Released August 17, 2018 | deutsche harmonia mundi

Hi-Res Booklet Distinctions 5 de Diapason
The French printer-publisher Christophe Plantin (1520-1589), who has lived in Antwerp more or less all of his adult life, is not just anyone. He is credited with some two thousand publications, an absolutely astounding number in this era in which everything was done by hand, including the press done page after page, and yet he’s managed to publish a new book approximately every week during his 34-year career, with more than a thousand copies for each—up to eight thousand copies for his Hebraic Bible. His workshop included sixteen hand presses, served by thirty-two printers, twenty typographers, three proofreaders and many servants of all kinds: a true company. His opus magnum is a Bible in five languages: Latin, Greek, Hebrew, Aramaean and Syriac. He is also credited with works in the fields of medicine, botany, cartography, anatomy, mathematics, religion of course… And yes, also music! Because he published several major partitions, gathering contemporary sacred works from Jacobus De Kerle, Palestrina, Philippus De Monte, as well as several chansonniers gathering pieces from Andries Pervenage, Claude Le Jeune and colleagues. It is in this incredible stock that the beautiful Ensemble Huelgas drew, alternating between profane and sacred, choral and soloist, a sort of condensed musical Renaissance oscillating between ferocious Catholics (Antwerp was then under Spanish domination, and Philip II was very touchy about religion) and rebellious Protestants. © SM/Qobuz
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Vocal Recitals - Released October 25, 2010 | Naive

Booklet Distinctions Choc de Classica

Vocal Recitals - Released February 13, 2015 | Solstice

Booklet
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Vocal Recitals - Released February 10, 2012 | RCA Red Seal

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Vocal Recitals - Released February 7, 2012 | RCA Red Seal

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Vocal Recitals - Released February 7, 2012 | RCA Red Seal

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Vocal Recitals - Released February 7, 2012 | RCA Red Seal

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Vocal Recitals - Released February 7, 2012 | RCA Red Seal

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Vocal Recitals - Released February 7, 2012 | RCA Red Seal

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Vocal Recitals - Released February 7, 2012 | RCA Red Seal

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Vocal Recitals - Released February 7, 2012 | RCA Red Seal

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Vocal Recitals - Released January 20, 2012 | Masterworks

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Vocal Recitals - Released October 15, 2010 | Sony Classical

Booklet Distinctions Choc de Classica
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Vocal Recitals - Released September 14, 2009 | Ambroisie

Booklet
Scots tenor Paul Agnew has an ideal voice for Purcell: clean, pure, supple, strong across its range, with exceptionally precise intonation. His delivery is natural and unmannered, and he is undaunted by the music's outrageous technical demands, so that even the most ornately embellished lines sound spontaneously imagined and genuinely felt. (His is a voice, in fact, that would be ideal for any number of composers.) In this recital of songs by Purcell, intermingled with instrumental interludes by a few of the composer's contemporaries, Agnew is joined by three other virtuosos: Anne-Marie Lasla playing bass viol, Elizabeth Kenny playing theorbo and guitar, and Blandine Rannou playing harpsichord and organ. There is nothing routine about their realizations of the continuo parts, and the variety of their solutions astonishes with inventiveness. Even the simplest, O Solitude, in which Lasla accompanies Agnew with a single unadorned bass line, holds the listener rapt for almost seven minutes with the sensuality and sensitive interweaving of voice and viol. The most complex realizations, such as those for Music for a while, and the third of the composer's three settings of If music be the food of Love (track 1) have the richness and texture of chamber music. Music for a while, justly recognized as one of the composer's masterpieces, elicits a performance from Agnew that's spellbinding in its intensity and interpretive depth. The recital is nicely varied, from the anguished and sophisticated Not all my torments can your pity move, to the ribald, earthy Man is for the woman made, and contains an attractive mix of familiar and less well-known repertoire. Agnew seems to be miked very closely, but rather than being a fault, it makes him feel physically close to the listener. The balance with the instruments is good, and sound is natural and effectively ambient. Highly recommended for fans of Baroque vocal music, or anyone who loves beautiful singing.
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Vocal Recitals - Released August 6, 2009 | deutsche harmonia mundi

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Vocal Recitals - Released November 11, 2008 | harmonia mundi

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Vocal Recitals - Released July 31, 2007 | harmonia mundi

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Vocal Recitals - Released July 18, 2006 | harmonia mundi