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David Daniels: Operatic Arias

(more) »rank: 16621

from: Virgin Veritas (EMI)


Editorial Product Review: :David Daniels seems to be the current leader of the opera world's March of the Falsettos--and with good reason: he's one of the first countertenors with enough beef in his voice to sound convincing in the heroic castrato roles of Handel's operas. His first solo disc is a collection of arias from just those roles--and an impressive debut it is. Daniels has the solid coloratura technique a Handel singer needs and a quick, narrow vibrato that can blend with Baroque instruments without alienating traditional opera buffs. (In fact, he sometimes sounds surprisingly ...


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Sento Amor; David Daniels;

(more) »rank: 82306

by: David Daniels, George Frideric Handel, Christoph Willibald Gluck, Wolfgang Amadeus Mozart, Harry Bicket, Orchestra of the Age of Enlightenment


Editorial Product Review: :After a fine Handel recital CD, not to mention taking part in a dozen other major recordings, countertenor David Daniels has hit the jackpot. This fascinating, handsomely recorded CD offers us arias from Mitridate and Ascanio in Alba, and a concert aria by Mozart (the only one he composed for male alto), as well as some Handel and Gluck arias. With them, Daniels takes us through every quality a classically trained singer should have and comes through with flying colors. The arias are about vengeance, sorrow, love--the usual--but within baroque strictures that ...


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Vivaldi: Stabat Mater, Nisi Dominus, Longe Mala

(more) »rank: 146114

by: David Daniels, Fabio Biondi, Antonio Vivaldi, Europa Galante


Editorial Product Review: :Anyone familiar with Vivaldi only through his innumerable concertos (which are, unjustly, often accused of sounding alike) will be surprised by this recording. Vivaldi, in fact, composed a lot of vocal music, both sacred and secular, and wrote for voices no less skillfully than for instruments. The three works presented here, for alto, solo strings, and organ, are utterly beautiful and completely different in character, mood, and feeling. The 'Stabat Mater' is most substantial. Alternating recitatives and arias, often framed by instrumental ritornellos, it is heartbreakingly mournful, but ends peacefully before closing ...


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Berlioz: Les Nuits d'Été

(more) »rank: 75150

by: David Daniels, John Nelson, Hector Berlioz


Editorial Product Review: :Lovers of great singing, rejoice! David Daniels is branching out from the baroque repertoire that made him famous and proving that he can be equally at home anywhere in the literature. He makes these French songs sound as if they had been written for him, though in fact Berlioz intended his cycle to be sung by different voices. Daniels brings out the songs' infinite variety of mood, atmosphere and character with total identification. His vocal range and palette of nuance, color and inflection seem unlimited; he can brighten his voice like a ...


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David Daniels - Serenade

(more) »rank: 97404

by: Christoph Willibald Gluck, Antonio Caldara, Antonio Cesti, Franz Schubert, Ludwig van Beethoven, Antonio Lotti, Charles Gounod, Ralph Vaughan Williams, Francis Poulenc, Henry Purcell, David Daniels, Martin Katz


Editorial Product Review: 's Best of 2000:It's a truism by now that countertenors have made a notable comeback in our time, but David Daniels--Amazon.com's Opera & Vocal Artist of 2000--isn't about to rest on his laurels. As if his recent successes weren't enough to set him apart, on this recital album Daniels forays beyond the countertenor's stereotypical domain of the baroque to interpret lieder of Beethoven and Schubert, as well as French mélodies and Vaughan Williams. A stunningly beautiful disc. --Thomas May


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A Quiet Thing; David Daniels & Craig Ogden

(more) »rank: 84266

by: David Daniels, Craig Ogden, Alec Wilder, John Harold Kander, Gabriel Faure, Franz Schubert, Johann Sebastian Bach, Leonard Bernstein, Stephen Foster, Harold Arlen, John Dowland, Vincenzo Bellini


Editorial Product Review: :On this record, David Daniels, one of our finest, most sought-after countertenors, adds a wide variety of styles, from Italian bel canto, popular classics, and American art- and folksongs to his signature Renaissance and Baroque repertoire. He appears to be equally at home in all of them, naturally adapting his vocalism, phrasing, diction, and delivery to each idiom, while his uniquely beautiful voice retains its pure, floating quality and intense expressiveness. His astonishing breath control lets him spin and sustain endless phrases; his middle range is dark and warm, his top bright ...


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