“After the brilliant success of his previous album Four Thousand Winter, Canadian countertenor Daniel Taylor returns to offer us a Christmas season with the voices of his superb Trinity Choir… the Trinity Choir brings together the finest flowering of the most beautiful chorister voices…” —Read more at the Montreal Gazette.
“Daniel Taylor gets first-rate singing from The Trinity Choir…Looking at some of the names in its ranks, the quality of the choir’s sound and ensemble is hardly surprising.” — Read more at Financial Times.
“Laurence Cummings’s new version with Göttingen festival forces captures fully the uplifting, pastoral, ethereal vision in arias such as Susanna’s “Crystal streams in murmurs flowing”, and his cast, while not all perfect in English, are responsive, with Ciara Hendrick outstanding. Beautiful.” — Read more at theguardian.com.
“Love may make the world go ‘round, but it also provided creative grist for the mills of baroque composers…Steffani’s Guardati O Core warns of Cupid’s fateful arrow, with Montreal-born soprano Dominique Labelle easily navigating the florid ornamentation and tripping runs during each of her arias.” — Read more at Winnipeg Free Press.
“Labelle has a wonderful voice for this repertoire, clear and light but with plenty of staying power for the extended vocal displays; and the instrumental playing that backs her up is impeccable.” — Read more at infodad.com.
“…a gorgeous, full voice that is quite captivating in each of the works…The music here is really quite compelling, made more so by Labelle’s interpretation and beautiful voice.” — Read more at Cinemusical.
“Dominique Labelle is impressively featured in three cantatas that provide many of the album’s delights…Labelle sings with a plumy tone, judiciously using vibrato when it best serves the music but never subjecting the listener to the disembodied tone of other early music specialists. Hers is a beautiful full lyric soprano voice and the results of […]
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“The Philharmonia Baroque Orchestra’s string-playing is routinely urbane, and the continuo group’s realisa-tions are impeccably shaded…Diana Moore is expressive with words and musical details in Spring’s splendid arias…part 2 has a theatrical impact thanks to Douglas Williams’s resonance and mastery across a wide-ranging tessitura. This is a delightfully enjoyable revelation of the elder Scarlatti’s genius.” […]