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Aksel!
Arias by Bach, Handel & Mozart
JOHANN SEBASTIAN BACH
1.
Jauchzet Gott in allen Landen, BWV 51
4:14
David Blackadder trumpet solo
2.
Mein gläubiges Herze, BWV 68
3:44
Luise Buchberger piccolo cello solo
GEORGE FRIDERIC HANDEL
3.
Happy, oh thrice happy we
3:00
from Joshua, HWV 64
4.
Chi m'insegna il caro padre?
3:11
5.
Barbara! io ben lo so
3:01
from Alcina, HWV 34
6.
Lascia ch'io pianga
4:14
from Rinaldo, HWV 7
JOHANN SEBASTIAN BACH
7.
Ich folge dir gleichfalls
3:25
from St. John Passion, BWV 245
GEORGE FRIDERIC HANDEL
8.
Eternal Source of Light Divine, HWV 74
3:17
David Blackadder trumpet solo
JOHANN SEBASTIAN BACH
9.
Bist du bei mir, BWV 508
2:18
GEORGE FRIDERIC HANDEL
10.
How beautiful are the feet of Them
2:13
11.
Thou art gone up on high
2:57
from Messiah, HWV 56
12.
Let the bright Seraphim in burning row
5:11
from Samson, HWV 57
JOHANN SEBASTIAN BACH
13.
Quia respexit
2:44
from Magnificat in D Major, BWV 243
Katharina Spreckelsen oboe d'amore solo
14.
Angenehmer Zephyrus
4:12
from Zerreißet, zersprenget, zertrümmert die Gruft, BWV 205
GEORGE FRIDERIC HANDEL
15.
Oh! Had I Jubal's lyre
2:44
from Joshua, HWV 64
WOLFGANG AMADEUS MOZART
16.
Voi, che sapete che cosa e amor
2:46
17.
Non so più cosa son, cosa faccio
2:40
from <,i>Le nozze di Figaro, K. 165
18.
Alleluia
2:27
from <,i>Exsultate jubilate, K.165
Total time: 58:18
Solo:Aksel Rykkvin treble
Orchestra: Orchestra of the Age of Enlightenment
Conductor:Nigel Short
Notes
Norwegian boy-soprano Aksel Rykkvin has quickly built a reputation as a rare talent, combining an intelligent musicality with a beautifully resonant treble voice. On his debut recording he is accompanied by The Orchestra of the Age on Enlightenment under Nigel Short (leader of award-winning chamber choir Tenebrae), in a selection of arias by Mozart, Handel and JS Bach. Many of the arias performed are considered too technically demanding for boy singers in the present day – in particular Mozart’s Exsultate Jubilate which was composed for the castrato Venunzio Rauzzini, and several of Bach’s Cantatas which were written at a time when singers often maintained their treble voices until the ages of 16 or 17.
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Reviews
"... Rykkvin displays a remarkable vocal agility with a clean and pure tone and excellent intonation. He sings with great aplomb ... His artistry is remarkable for one of his age, and listeners who admire the sound of a first-rate boy treble will not be disappointed."
William Gatens - American Records Guide - January/February 2017
"...This wide-ranging collection of popular 18th-century arias reveals an astonishing talent able to encompass the chosen programme with a maturity and confidence extending way beyond such tender years. The voice itself has a lovely quality - rounded and not without power, both physical and expressive ... this is unquestionably a remarkable CD that demands to be heard by anyone who loves the treble voice." ****
Brian Robins - Early Music Today magazine - March - May 2017
"... A Talent to Watch"
Ivan A Alexandre - Diapason magazine (France) - December 2016
"...Thirteen-year-old Norwegian chorister Aksel Rykkvin is certainly a treble worth preserving - a mature, musical performer whose unbroken voice offers a fascinating alternative take on much of the familiar repertoire recorded here... The Orchestra of the Age of Enlightenment and conductor Nigel Short are Rykkin's very classy colleagues, supporting the young soloist with some exquisite obbligato solos and consistently lively, generous tempi. All add up to a recording that's much more than just the cute curiosity its cover suggests."
Alexandra Coghlan - Gramophone magazine - November 2016
"Exceptionally polished performances ... The arias are well-chosen." ****
Jeremy Pound - BBC Music magazine (Brief notes section) - December 2016
"It's a remarkable performance - pure, technically perfect and hauntingly beautiful."
Classic FM
"... Widely praised for his richness of tone and instinctive, innate musicality."
BBC Music Magazine
"... Freakishly good, with a musical assurance and richness of tone that are almost superhuman."
Financial Times - 2016
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