Winter In Schwetzingen 2012. Rhein-Neckar-Zeitung, Matthias Roth, 16.1.2012
'Mad Songs' arias by Henry Purcell and Handel's Lucretia cantata Deborah York - soprano Jeremy Joseph - harpsichord Dmitri Dichtiar - cello

»Her voice is not big or overpowering on first hearing, but rather fine, differentiated in expression, clean and perfectly attuned to her accompanying musicians: coloratura soprano Deborah York is one of the best baroque singers around today. For her solo recital at Heidelberg Theatre's „Winter in Schwetzingen“ season she sang 'Mad Songs' by Purcell und Handel. Those who maybe took a while to accustom themselves to the simplicity, elegance and clarity of her voice were well and truly under the spell of this extremely flexible and expressive singer by the Handel cantata „O numi eterni“ (HWV 145) and the two encores (Handel's `Lascia ch’io pianga` from „Rinaldo“ and 'I'll sail upon the dog star by Purcell). In the Purcell set, the Minidrama „From Rosy Bow’rs“(1695), composed during the final year of his life, stood out. Deborah York performed this highly charged, emotional music which bursts all boundaries of form and feeling, with burning intensity and the richly nuanced colours it deserved. One didn't need stage scenery here in order to comprehend vividly the drama taking place. Equally brilliant was her Handel cantata 'La Lucretia - „O numi eterni“. The soprano Deborah York knew exactly how characterise her voice to greatest effect in order to convey the drama of each scene through sound - her use of ornaments, the conscious use of a pulsating vibrato, the pale, weak sound of approaching suicide, all applied with an unerring sense of style and timing. Her fellow musicians played an important role: the South African Jeremy Joseph is a gifted harpsichord player, a dervish on the keyboard. Impeccably educated in performance practise (Copenhagen and Lübeck) he seems to have been influenced by the dutch school of Bob van Asperen, using glittering arpeggios to create a finely integrated counterpoint to the melody line. A fine lesson in the art of harpsichord playing, as also demonstrated in the solo piece by Tomkins. The solo cello sonata by Marcello proved Dmitri Dichtiar (Moskau/Karlsruhe) equally historically informed and musically virtuoso. Rhein-Neckar-Zeitung, Matthias Roth, 16.1.2012 «

Carnegie Hall, New York
New York Times review 'Embracing Handel’s Leaping Arias and Duets' Allan Kozinn Nov 16, 2011

»The evening was mostly devoted to arias and duets from “Rinaldo,” “Tolomeo,” “Giulio Cesare” and “Rodelinda,” in which Mr. Taylor split the spotlight with the soprano Deborah York. They were well matched. In the ebullient “Scherzano sul tuo volto” (“I look in your beloved eyes”) from “Rinaldo,” Ms. York’s bright, tightly focused timbre perfectly complemented Mr. Taylor’s velvety tone, and when Ms. York darkened her sound in the mournful duet “Io t’abbraccio” (“I embrace you”) from “Rodelinda,” the blend was just about perfect. On her own, Ms. York was at her best in “Bel piacere” (“It is a great pleasure”) and “Lascia ch’io pianga” (“Let me weep”), both also from “Rinaldo.” In “Bel piacere,” Handel demands an athletic series of barely prepared leaps, which Ms. York handled so gracefully that she made her ornamentation of the top notes sound natural and comfortable if not necessarily easy. In “Lascia ch’io pianga,” one of several tragic arias that gave the program its emotional richness, she sang with a wrenching dynamic suppleness.«

Weill Recital Hall at Carnegie Hall, New York, 15.11.2011 (SSM)
Daniel Taylor and Deborah York Perform Handel to Perfection

» 'Tu la mia stella sei” followed, a difficult aria that York tossed off with ease, reaching up to the highest vocal register without undue strain or thinning out. .......This led into a wonderful and difficult aria, “Se pieta di me non senti” from Giulio Cesare. Built on a chromatically descending triplet played repeatedly through the entire piece, with Ms. York’s impassioned voice doubled or echoed by the strings, this was certainly the most moving aria in the concert, and the considerable applause that followed was appropriately long.' Stan Metzger «

Carnegie Hall: Weill Recital Hall, New York City
Handel, Arias and duets from Giulio Cesare, Rodelinda, Rinaldo and Tolomeo The Theatre of Early Music Deborah York, Soprano Daniel Taylor, Countertenor

»Deborah York’s most stunning aria, perhaps, was Cleopatra’s “Tu la mia stella sei” from Giulio Cesare. Her da capo ornaments, more so than in her other arias, were subtly chosen and highlighted her vocal agility. The gorgeous and expansive “Se pietá”, another aria for Cleopatra in Giulio Cesare received thunderous applause from the audience. During the fermata at the first presentation of the A section, one audience member exclaimed “It’s a beautiful aria!” «

Christmas CD release 2009 'Per il Santissimo Natale', Elbipolis, Berlin Classics - 0016602BC

»'Deborah York rejoices in Handel's 'Gloria' with her pure, clear, wafting, heavenly soprano. She sings the 'Magnificat' by Melchior Hoffmann equally superbly.' «

Manuel Brug, Die Welt, 22.12.09

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BBC Music Magazine, Christmas 2009

»This is just an outstanding disc. Deborah York gives a magnificent performance of Handel's 'Gloria' which really leaves nothing to be desired and seems hard to surpass. There is no sign of any technical problem here and she sings with great feeling and expression. It is the best performance of this piece - which was only discovered in 2000 - that I know. In the 'Magnificat' York fully explores the way Hoffmann has depicted the text. In the Jacobi, arias are alternated by highly expressive and dramatic recitatives which York sings with great understanding and in truly declamatory fashion. In the arias she is no less impressive. «

Johan van Veen, musica Dei donum, 24.12.09

»'The delightfully well balanced timbre of Deborah York' ) «

Armin Kaumanns, Aachener Nachrichten 05.12.09

»Without doubt Deborah York's technical brilliance is marvellous and her vocal mastery is shown to its best advantage in the highly virtuoso works. It is precisely in the demanding coloratura passagework and intricate ornamentation where she excels with vocal character, yes -indeed charisma. There are moments of flawless diction and full, all enveloping vocal sound. York's clear and radiant timbre is immediately recognisable.«

Erik Daumann, 25.11.09, Klavier.de

»'Deborah York's slightly darkly-hued, technically perfectly carried soprano is perfect for this repertoire'«

Sven Kerkhoff, 12.12.09 Musik an sich.de

»'The unmistakably clarity of Deborah York' «

Hagen Kunze, Der Kreuzer-Leipzig, 12.09

Handel 'Orlando' (Dorinda), Musica Viva, Moscow, cond.Christopher Moulds

»'The soprano Deborah York has always been a special attraction in some of the early music projects in Moscow in recent years, and once again, her angelic, flexible voice didn't disappoint' «

(The Newstime/Vremya Novostei 04.09)

»'Deborah York created a most fascinating role' «

Vedomosti 04.09

»'The most touching of all the singers in the entire opera' «

OpenSpace.ru 04.09

»'Deborah York played and sounded so young and fresh on stage that it was very hard to believe that this expert singer already has a long and distinguished career to her name.' «

Culture/Kultura 04.09

»'Deborah York thrilled the audience with the light colours of her soprano voice, virtuoso fiorituras and subtle trills' «

The Russian Newspaper/Rossiyskaya Gazeta 04.09

Purcell 'Dido and Aeneas' Sasha Waltz and Guests/Akademie für Alte Musik Berlin, Staatsoper Unter den Linden, Berlin and on DVD. Also on CD with Ensemble MusicAeterna, Teodor Currentzis and New Siberian Singers.

»Splendid flexibility, silvery clarity and intensely expressive, Deborah York as Belinda is outstanding.«

Frankfurter Allgemeine Zeitung. Eleonore Büning. 19.11.08

»«

Le Grazie Veneziane – Music from the Ospedale of Venice – Körnerscher Sing-Verein Dresden, dir. Peter Kopp – Georgenkirche, Eisenach (broadcasted by MDR), Annenkirche, Dresden

»Deborah York in particular demonstrated a real feeling for the heavenly sound of the Ospedale with her poised, clear soprano voice which mastered the widest of vocal leaps with ease.«

Frauke Adrians, Thüringer Allgemeine, 14.10.07

»Deborah York was more than a match for this ludicrously difficult vocal writing, singing with lyrical timbre and effervescent liveliness at such a consistently high niveau, that after a few bars, one took for granted that such difficult coloratura and extraordinarily wide leaps would be executed with ease. Such a feast for the ears is rare.«

Dresdner Neueste Nachrichten, Hartmut Schütz, 16.10.07

Deborah York und Lautten Compagney – Dolce mio ben, Konzertabend in Meppen, gesendet: NDR Kultur, Deutsche Welle, 2006

»Deborah York is an exceptional soprano who displays perfect control of vocal dynamics and possesses the highest musical sensibility. In both recitatives and arias she celebrates a wide variety of effects in an exquisitely subtle and sensitive manner, her brilliant coloratura passages flowing flawlessly without the slightest effort [...]. The enthusiastic audience experienced Italian sensuality, sparkling passagework, magnificent bel canto, but also contemplative introspection [...]. Deborah York captivated with her outstanding vocal artistry.«

Meppener Tageblatt

»Deborah York delivered a long string of musical pearls. With her crystal clear timbre, she is a singer ideally suited to baroque music, not least because, in addition to executing all her ornaments and graces with precision, she succeeds in bringing the emotional nature of each passage to life – in turns light and lively, heartfelt or melancholic«

Hildesheimer Allgemeine Zeitung

CD 'Almirante' (Phoenix/Gramola) Baroque Duets with Cappella Leopoldina and Jörg Zwicker.

»The divinely harmonious voices of Deborah York (soprano) and Lydia Vierlinger (alto) sing some of the most beautiful duets by Bach, Handel, Fux and Purcell, linked convincingly by newly composed recitatives. One could not wish for a better "Best of" album than this.«

Falter

»«

Gluck – Orphée (L’Amour) – Tchaikowsky Hall of Moscow Conservatoire, Teodor Kurentzis, Orchestra Pratum Integrum, Choir of Moscow Conservatoire, 15 Jan 2006

»The pure angel of the baroque style, Deborah York created a crystalline Amour, who enchanted with pure tone, subtle vocal line and exemplary sense of style«

The Newstime

»Ideal Amour«

The Independent Newspaper, Moscow

»Deborah York created a little vocal treasure«

The Kommersant Daily

»Vocal purity and artistry, as well as a wonderful figure, have discovered in Deborah York the ideal Amour«

Independent Newpaper/Nezavisimaya Gazeta

»Deborah York, with her bell-like voice and flexible vocal line was a highlight of the evening«

Russian Newspaper/Rossiyskaya Gazeta

»Deborah York, the pure angel of the baroque style, was an enchanting and gentle Amour, delighting with crystalline timbre, exemplary knowledge of style and acting skills«

The Newstime/Vremya Novostey

Mozart – Exsultate Jubilate – Kölner Kammerorchester, Helmut Müller-Brühl, Kölner Philharmonie, 2006

»Mozart’s Exsultate, jubilate gave soprano Deborah York the opportunity to show her beautifully shaped coloratura to its best advantage.«

Volker Fries, Kölnische Rundschau

Handel – Operatic arias and duets – Orquesta Pablo Saraste, Pamplona 2005 (dir.William Lacey, Contratenor Carlos Mena, Mezzo Sara Fulgoni)

»Deborah York gave a lesson in style. Her voice is one of great purity. Her performance calm and expressive. Her high notes are precious, emanating from a point of light and opening out flawlessly. Her coloratura is always perfectly embellished and she blended sensitively both with the counter-tenor in Giulio Cesare as well as with the mezzo-soprano in Semele. With her elegant and cheerful presence, we couldn’t have wished for a greater performance.«

Diario Navarra

Alcina (Oberto) – Bayrische Staatsoper, Ivor Bolton/Christophe Loy, July 2005

»…the effortless soprano of Deborah York (Oberto)«

Landshuter Zeitung

»Deborah York is vocally first rate. She knows how to express happiness, despair, disappointment, hate, whatever moves her, in heartfelt and polished tones«

Salzburger Nachrichten

»Deborah York as Oberto convinces through vocal polish and dramatic flexibility«

Nürnberger Nachrichten

»Deborah York created with a light, flexible, and in the higher register, shining soprano, a sensitive Oberto«

Rheinpfalz

»The brillant, soulful coloratura of Deborah York as Oberto«

Neue Presse Coburg

»Deborah York creates a silvery light Oberto with Cherubino-like timbre«

Tageszeitung

Britten – Rape of Lucretia (Lucia) – Bayerische Staatsoper, München 2004 (Regie: Deborah Warner, Dirigent: Ivor Bolton)

»The discovery of the evening is Deborah York. Her Lucia fascinates with her caressingly high soprano, which gently sways in the air above everything else«

Fränkischer Tag, 23.7.04

»Deborah York gave a perfect Lucia, with a soprano which seemed to have no limits to its height«

Landshuter Zeitung

»and the little maid Lucia (Deborah York), herself undisturbed by the ›Tiger‹, sings her coloratura with the purity of a young boy.«

TZ, 21.7.04

Handel – Il Trionfo del tempo e del disinganno (Bellezza) – Minkowsky, Les Musiciens du Louvre, Festival de Beaune, 2004

»Deborah York has a particularly lovely timbre. She was one of the best voices in the cast«

Alessandro di Profio, Giornale della musica.it

Handel – Messiah – Ton Koopman, Amsterdam Baroque Orchestra, December 2003

»An angelic voice illuminates the Messiah [...] Deborah York possesses a starry clarity, a childlike purity. She is a real angel.«

Il corriere della sera, Milano

»Soprano Deborah York bestowed the evening with a very special shine. Effortless her coloratura, angelically she sang in ›Rejoice Greatly‹ of the coming of the Lord«

Süddeutsche Zeitung

»The heavenly soprano Deborah York appeared to shine effortlessly over everyone and everything«

Donaukurier, 15.12.03

La Resurrezione (Angelo) – QEH Gabrieli Consort, 2002

»Since her stunning performance at the Lufthansa Festival in 1999, I always associate soprano Deborah York with The Angel, a role blessed with one of the most remarkable scenes of any Handel work. Her opening aria, Disseratevi, o porte d’Averno, forming the third movement of the overture, starts with a wonderful tumble from the heights as she demands that the gates of hell be opened- an ideal vehicle to display her agile and fluid voice. She kept up her vivid portrayal throughout, with some engaging side glances at Lucifer, notably a saucily raised eyebrow and a gleeful stare into his back during his penultimate aria. If angels really are as cute as this (and I retain my belief in angels as beautiful young women), I could be encouraged to make rather more effort to get into heaven.«

Early Music Review #79, April 2002

Il Trionfo del Tempo e del Disinganno HWV 46a Concerto Italiano/Rinaldo Alessandrini Opus 111 OPS30-321/2

»The star is undoubtedly Deborah York, as Beauty, whose bright, diamantine tone and incisive articulation, not to mention her agility (there is marvellous duetting with oboe in her second aria and, at some pace, with violin in her third), serve well. Her expressive singing in 'Io sperai', with obbligato oboe and continuo basson, is one of the high points, and her elevated singing towards the close, where Beauty is won over - beginning with the lovely slow aria 'Voglio cangiar desio' and ending with her final number with solo violin, 'Tu del ciel' - makes a moving climax.«

Gramophone Magazine June 2001 - Stanley Sadie

Handel Jeptha (Iphis) Berlin Philharmonie, Akademie für Alte Musik, RIAS Kammerchor, dir. Marcus Creed 1999

»The strength of this performance lay in its subtler tones, especially in the arias for Iphis, in which Deborah York (soprano), with rare clarity and eloquence, expressed her innocence«

Berliner Zeitung

Teaching