RECORDING REVIEWS

Vivaldi: Bajazet – WORLD PREMIER RECORDING (Virgin Classics 5 45676 2)

U.S. Release July 2005

"Under the exhilarating leadership of Fabio Biolndi, for years one of the most interesting Vivaldi interpreters, six excellent singers bring to life the grisly tale ... Matching [Ildebrando] D'Archangelo in eloquence is David Daniels as Tamerlano. The countertenor has never sounded finer, and his ability to mold a phrase grows more breathtaking with each season. Though the part of Tamerlano does not hold the excesses of fioritura of the other roles, Daniels makes every word count, especially in his unsurpassed delivery of recitative."
      — Drew Minter, Opera News, July 2005

Berlioz: Les Nuits d'Été/Ravel/Fauré (Virgin 5456462)

U.S. Release May 4, 2004

"The term 'countertenor star' used to be an oxymoron, but David Daniels, for one, has made it a reality. The thoughtfulness of the program almost outweighs the shock value of Mr. Daniels' advancing into this terrain in the first place. There's no faulting his artistry. He handles the Berlioz score with care and attention, modifying his sound slightly from one song to another, shaping phrases beautifully with musical echoes of the berbal content: a whitish sound on the high notes of 'la blanche creature' in 'Sur les Lagunes'; an aching pleading in the 'Reviens, reviens' ('Come back, come back') that begins 'Absence.' He has an unusually round, warm sound. He certainly knows his instrument."
      — The New York Times, July 2004

"When, in 1856, Berlioz orchestrated 'Nuits d'Été ... he had six different voice types in mind, providing a special challenge ... [Daniels'] tenor-to-soprano range easily handles the job, and his phrasings are sensitively wrought. Appealing performances of songs by Ravel ... and Fauré."
      — The New Yorker, June 2004

"Nothing short of revelatory. Daniels's lovely voice has an easy-on-the ears lilt and his musicality is so insightful that he imparts a rare freshness to this material ... This is one of the finest French vocal albums I've heard in years.
      — Out, Aug. 2004

A Quiet Thing (Virgin Classics 5 45601 2)

U.S. Release August 5, 2003

"Possessor of glorious and flexible countertenor voice, David Daniels is not content to plough well-worn furrows ... The highlight of his year on disc was a recital of American songs with the guitarist Craig Ogden – it was a runaway bestseller ... catching the public's attention with its combination of enchanting songs and vocal beauty."
      — Gramophone, Aug. 2004

"An album that's as simple as it is elegant ... Daniels' voice soars on selections both familiar and obscure: from centuries-old Spanish songs to more familiar fare, such as Stephen Foster's 'Beautiful Dreamer' ... Daniels' voice is soothing, never shrill; it lulls you into a peaceful state, with Ogden's understated guitar providing the perfect counterpoint."
      — Frontiers, Sept. 2003

"Among the best countertenors today is David Daniels, an American whose glowing timbre, pure pitch and expressive depth have made him a hto item in opera houses and concert halls. His newest disc is a cherishable recital of classical and popular pieces performed with classical guitarist Craig Ogden ... Daniels sustains phrases and conveys the wistful emotions with warm restraint ... Daniels makes every statement a subtle matter of dramatic life and death ... What lovely intimacy ... it is impossible not to be entranced by everything on this disc."
      — The Cleveland Plain-Dealer, Aug. 2003

Handel Oratorio Arias (Virgin 5 45497 2)

"Daniels brings to bear his customary velvet tone, nuanced musicianship and impeccable taste ... This is an extremely high-quality recital disc, overflowing with polished performances of rarely heard material, much of which is quite lovely."
      — Opera News, Sept. 2002

"Praise for countertenor David Daniels' artistry has become commonplace. What remains singular, however, is the sheer beauty of his voice, the wide range of emotional expression, and the extraordinary facility with which he negotiates and embellishes the florid filigree of baroque composition ... Daniels' artistry consistently shines on disc."
      — Absolute Sound, Oct. 2002

"Singing in his own language, Daniels is even more expressive than usual. The buttery legato, the flawless pitch, the fiery displays of coloratura are audible ... Yum."
      — San Francisco Examiner, Oct. 2002

"[Theodora's brilliant arias] benefit from [Daniels's] stage experience, along with his exquisite, androgynous tone and – in heroic vein – virile bravura technique ... The highlight is the ravishing O Lord, Whose Mercies Numberless from Saul, whose sensuous melismata Daniels imbues with an irresistible erotic charge."
      — Sunday Times (London), Aug. 2002

"Daniels' elegant diction, pinpoint rhythmic control and effortless command of coloratura make for a wondrous display in such showpieces as 'Despair no more shall wound me' from Semele. And in 'Brave Jonathan' from Saul the fluency of his phrasing is breathtaking."
      — San Francisco Chronicle, Oct. 2002

"David Daniels is a force of nature. ... And he's surely one of the brightest stars of a new generation of countertenors ... The voice shines through in a voluptuous flood of sound, with beautifully articulated coloratura and immaculate passage work ... It's simply wonderful – lean, purposeful singing at its best."
      — Palm Beach Post, Oct. 2002

Vivaldi: Stabat Mater; Nisi Dominus; Longe mala (Virgin Classics 5 45474 2)

U.S. Release January 8, 2002

"There could be no more eloquent argument for resurrecting Vivaldi's solo vocal music than David Daniels' new album ... . There is always a 'face" behind Daniels' singing, which proves both stylistically informed and expressive. Vivaldi's shifts from fast, florid passages to languid, dolorous sections make stiff demands on a singer's technical and musical arsenal. Daniels' pliant, finely focused countertenor meets every demand adroitly."
      — Chicago Tribune, March 2002

"The sheer beauty of his opening phrases draws one irresistibly into the work: amber tone, lit from within, floating on an unforced column of air; satiny, old-school legato; and an ability to make trills, runs and other feats of vocal prowess sound completely natural and inevitable ... Captures the bloom and glow of one of today's most remarkable voices."
      — Opera News, May 2002

"A wonderfully poised vocal line floats over a gentle accompaniment in one of Vivaldi's most beautiful religious settings. The countertenor Andreas Scholl may have captured his fair share of coverage, but it is David Daniels who has captured the critics' hearts and, to judge by his sold-out concerts, he is fast becoming the favourite of a large public. Vivaldi put Scholl on the map and here an even more beautiful voice is put to the service of some quite ravishing music. Biondi may seem a strange partner - he is known for his daring iconoclastic approach - but the mix works well. A thrilling combination."
      — Gramophone "Editor's Choice," April 2002

"The combination of the star American countertenor and the Italian baroque specialist in three of Vivaldi's sacred works for solo alto and strings is electric. The American singer (Daniels) sweeps all before him with the sheer imagination, emotional involvement and rapt beauty of his singing. Daniels rounds off this wonderful disc with a showstopper, a florid 'operatic' motet, 'Longe mala, umbrae, terrores' (Lengthy woes, shadows, terrors), that gives him ample opportunity to exhibit his dazzling bravura technique. On this form and in this music, Daniels is unbeatable at present."
      — Sunday Times of London

"His is an unusually beautiful – I'm tempted to say voluptuous – example of this unusual vocal type, and it is heard to brilliant effect ... Daniels weaves through the curvy lines of these sacred pieces with exceptional breath control, tonal nuances and vivid phrasing. Religious music can't sound more seductive than this."
      — Baltimore Sun, June 2002

Handel: Rinaldo (Decca 289 467 087 2)

U.S. Release October 10, 2000

"Top of the bill come David Daniels as the eponymous crusader knight and Cecilia Bartoli as his love Almirena. Daniels' heart-stopping countertenor voice is one of the marvels of our age and hardly needs much further description for me."
      — Gramophone

"In the title role, David Daniels once again confirms his status as a countertenor of supreme style blessed with a voice of great beauty."
      — Gramophone

"The opera is stuffed with spectacular music. (New fans can have it at home now, too: Decca has just released a fine recording starring David Daniels)."
      — The Wall Street Journal

Handel Operatic Arias (Virgin Classics 5 45326 2)

U.S. Release December 1, 1998

One of BBC Music Magazine's "Critic's Choice/Best CDs of 1999" "For my money, countertenor David Daniels is the most electrifying singer of the present day, with a voice of matchless beauty at the service of the finest musical sensibility. He's by nature an operatic creative, and this collection of arias, a mixture of the familiar and the less well known, catches him in full flight; sheer delight from first bar to last."
      — BBC Music Magazine, December 1999

Serenade (Virgin Classics 5 45400 2)

U.S. Release June 6, 2000

"Daniels's timbre is more vibrant and feminine than, say, that of Andreas Scholl; and more than any countertenor around today he commands the range of color and dynamics and the sense of drama to make questions of voice type irrelevant. Beethoven's Adelaide is beautifully done, sweet-toned, pliant and confiding ... his Nacht und Träume, phrased in long seamless spans, is exquisite in its purity and rapt contemplation ... Daniels is equally involving in a clutch of charming neglected Gounod settings and in three Poulenc songs ... the Purcell items, taking the countertenor on to home territory, perhaps the best of all. Daniels is as compelling in the florid, quasi-improvisatory Sweeter than Roses as in the sublime Evening Hymn, a bolder less inward performance than the famous Fifties recording by Alfred Deller, but one worthy to be mentioned in the same breath."
      — BBC Music Magazine, June 2000

"Delightful ... the performances are at least as good as the program. This is, of course, in a special class of rarity, as even now these are not for the most part songs in which we expect to hear a countertenor or alto. One of the most treasurable performances is that of Nacht und Träume, pure in tone and faultlessly sustained ... Selve amiche spreads delicious balm over the troubled spirit, and most beautiful of all perhaps is the simple Hands, eyes and heart of Vaughan Williams."
      — Gramophone, May 2000

"When countertenor David Daniels joins his pianist in song, expectation gives way to wonder. Daniels' sensitivity, exceptional tone, and absolute attention to musical nuance surely place him in the front rank of contemporary singer/recitalists ... One of the most memorable song recitals of the digital era."
      — Seattle Weekly

"By turns lyrical and dramatic, this is a tour de force that only a singer of considerable bravura can bring off ... An outstanding collection by a ground-breaking artist."
      — Absolute Sound

Sento amor (Virgin Classics 5 45365 2)

U.S. Release November 16, 1999

"Whether the music is by Mozart, Gluck or Handel, [Daniels] sings with a combination of technical mastery and tonal beauty that places him in the very front rank of today's counter-tenor fraternity."
      — Toronto Star, January 2001

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