Sento Amor; David Daniels;

Editorial Reviews
Amazon.com
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 means that some require lush, limpid singing, others ferocious coloratura and exclamatory heft, and some all of these. Daniels is the one countertenor around who doesn't seem to be afraid of leaning on his voice. It's of course not within the ability of a voice produced so high up to "boom," but the gradation of dynamics he has at his command offers us many different colors and moods. It may be true that an entire hour of countertenorizing can tire the ear, but the program has been so well chosen and is so intelligently ordered that this is not an issue here. The Orchestra of the Age of Enlightenment plays energetically under the direction of Harry Bicket. Recommended for those who might be curious about how good this type of hybrid voice can actually be and certainly for fans of really good singing. --Robert Levine

Tracks:

Mitridate, Re Di Ponto: Aria: Venga pur, minacci e frema
Mitridate, Re Di Ponto: Recitativo: Vadasi...O ciel
Mitridate, Re Di Ponto: Aria: Giagli occhi
Ombra felice... Io ti lascio, Concert aria K255: Recitativo: Ombra felice!
Ombra felice... Io ti lascio, Concert aria K255: Aria en rondeau: Io ti lascio
Ascanio in Alba: Aria: Ah di si nobil alma
Il Telemaco, o sia l'isola di Circe: Aria: Se per entro alIa nera foresta
Orfeo ed Euridice: Recitativo: Ahime! Dove trascorsi?
Orfeo ed Euridice: Aria: Che faro senza Euridice?
Orfeo ed Euridice: Aria: Che puro ciel
Tolomeo, re d'Egitto: Recitativo: Inumano fratel
Tolomeo, re d'Egitto: Aria: Stille amare
Partenope: Recitativo: Rosmira, oh Dio!
Partenope: Aria: Sento amor
Partenope: Aria: Ch'io parta?
Partenope: Aria: Furibondo spira il vento

Amazon.com

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 means that some require lush, limpid singing, others ferocious coloratura and exclamatory heft, and some all of these. Daniels is the one countertenor around who doesn't seem to be afraid of leaning on his voice. It's of course not within the ability of a voice produced so high up to "boom," but the gradation of dynamics he has at his command offers us many different colors and moods. It may be true that an entire hour of countertenorizing can tire the ear, but the program has been so well chosen and is so intelligently ordered that this is not an issue here. The Orchestra of the Age of Enlightenment plays energetically under the direction of Harry Bicket. Recommended for those who might be curious about how good this type of hybrid voice can actually be and certainly for fans of really good singing. --Robert Levine

Customer Reviews:

a voice teacher and early music fan.......2006-08-05

David Daniels is recognized as one of the outstanding American countertenors today, possessing a voice of great warmth and beauty along with a magnetic stage presence, which serves him very well, especially when singing operatic arias.This recording demonstrates very well indeed this ability. He has chosen operas from three composers:Mozart from "Mitridate" and "Ascanio in Alba" along with a beautiful Concert aria:"Ombra felice...Io ti Lascio"which I think is the highpoint of this disc.;Gluck:"Telemaco"-"Orfeo ed Euridice"; and of course Handel:"Tolomeo" and"Partenope". All renditons are perfectly performed with the correct emotional intensity, so much so that one wishes to see him doing all of these great arias. One comment about the statement made by Robert Levine implying that it would be somewhat difficult to listen to the countertenor voice for any prolonged length of time. I think that would depend upon the preference of the listener and his overall sensitivity to the music in question. I personally find GOOD countertenor voices to be ethereal, almost "other worldly" extremely pleasureable to hear!!!!

Daniels Soars to Conquer Mozart, Gluck and Handel.......2004-08-14

Countertenor David Daniels is a wonder, especially when you consider the rarity of a fine countertenor recital. On this, his second recital disc for Virgin Classics, Daniels confounds expectations by continuing his amazingly high batting average. By the very nature of the voice type, one would think the repertoire would be rather limited, the fullness of the notes compromised, the warmth sacrificed by the technical demands of maintaining such a high range. But Daniels breaks every rule and makes up a few new ones by tackling the works of Mozart and Gluck, as well as his perennial musical compass, Handel.

Two completely different selections from Mozart's first opera, "Mitridate", are included here - the aggressively rhythmic "Venga pur minacci e frema" with its intensely dramatic strings and the majestic and remorseful concluding aria "Vadasi...O ciel...Già dagli occhi". They illustrate Daniels' versatility in capturing the two sides of the nefarious character of Farnace. He also tackles the only concert aria Mozart ever wrote for a castrati, "Ombra felice...Io ti lascio", in an exquisitely modulated performance. The Gluck selections are highlighted by the touching "Che farò senza Euridice", which achieves an almost dream-like beatitude, and the pastoral "Che puro ciel". Although already breathtaking up to this point, Daniels saves the best for last as he goes back into familiar territory with Handel's two operas, "Tolomeo" and "Partenope", the latter which he has performed onstage on several occasions. From "Partenope" comes the beautiful title track "Sento amor" where his character Arsace experiences devotion and confusion over his still strong feelings for the disguised Rosmira. Daniels' vocal runs are especially amazing on the last aria, "Furibondo spira il Vento", where his conflicting feelings toward Rosmira come to a boil in a turbulent cauldron as she rejects him.

As with Daniels' first recital recording, the Orchestra of the Age of Enlightenment accompanies beautifully but this time under the expert baton of Harry Bicket, who later conducted Daniels in the 2001 Staatsoper München production of Handel's "Rinaldo" (now on DVD and highly recommended). "Sento amor" is a great recording, a must-have addition to any superior Baroque musical collection and further testament to the wondrous talent of David Daniels.

Not as good as his other recordings.......2000-09-21

David Daniels exhibits a beautiful voice and musicality, as usual. However, I found that this repertoire was not necessarily the best match for his voice, with the tessitura generally too low to showcase his abilities, combined with orchestration that was too overbalanced for the voice. Some of the lesser recorded selections were interesting from a historical perspective.

Dreary Dowland? Hello?.......1999-12-06

This newest cd "Sento Amor&quels is not only the greatest countertenor in the world, but certainly one of the greatest singers in the world. Congrats Mr. Daniels on reaching yet another plateau!

David Daniels Has Never Recorded Music by Dowland.......1999-12-02

"Sento amor" David Daniels' second solo recital on CD, raises the bar not just for countertenors but for all singers. To date he has recorded two solo recitals, a disc of Scarlatti cantatas, a live Poppea from Munich, and highlights from Arne's Alfred-- that's five. To me, "Sento amor" captures one of the most distinctively beautiful and dramatic voices that has ever recorded, so it's hard to believe that Daniels' voice could be confused with any other. I anxiously await the next recording-- will we have a Christmas album for next year?

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