| Press | English - Deutsch |
|
|
International Press and Radio for Joel Frederiksen's Solo-CD: "Orpheus, I am" Bayern 4, Klassik Radio The proof that Orpheus lives and is not just a mythical figure from the past delivers Joel Frederiksen. The American with Danish ancestry, who is successful as a singer on the opera stage as well as in the concert hall, has at his disposal a marvelous bass voice with rich, gentle depth, considerable volume, and then also great movement. He accompanies his pleasant singing, which radiates calm, subtly and skillfully himself, much as in his time, Orpheus, but not on a Lyre, instead on an 8-course Renaissance lute. Orpheus, I am is the programmatic title of a lute song by Robert Johnson that Joel Frederiksen sonorously embodies and confidently chose for the title of his enjoyable album. Oktober 2004 Fanfare Joel Frederiksen must be one of the few contemporary singers able to accompany himself on the lute, as surely Renaissance musicians did. In his pleasingly resonant voice, and with his considerable taste, Frederiksen sings songs from three nations. February 2004 American Record Guide The lute and viol playing is certainly top notch on this recording of English, French, and Italian music of the 17th century. But the real attraction on this recording is the singing. Joel Frederiksen has a lovely bass voice. March/April 2004 Concerto, Germany So wins Orpheus I am alone already through timbre-painting a special attraction. Joel Frederiksen "paints", but not only that, he is also convincing stylistically. April 2004 Early Music America Frederiksen's vocal nuances are splendid. Orpheus, I am is well worth the hour of listening it provides. Frederiksen, with his powerful bass voice, makes a worthy Orpheus. Fall 2003 Classical Singer - November Cover Story Out of the Ashes and On Fire: Bass Joel Frederiksen By Maria Nockin Joel Frederiksen's long and varied career is a lesson in patience and preparation. After a teacher opened up his voice and declared him a true bass, Frederiksen then had to wait for his voice to mature. He put the downtime to use, however, developing skills that would one day serve him well—like playing guitar, developing a love affair with the lute, and honing his directorial skills in public schools. Find out how these skills have allowed him to create an international career in a multitude of settings and styles. See original article as a pdf file  Munich’s Evening News Joel Frederiksen received the “Star of the Year” award in classical music from Munich’s Evening News on January 28, 2008. He was recognized for his CD with Ensemble Phoenix Munich “The Elfin Knight” and his new concert series in the Bavarian National Museum, “Between Mars and Venus”. See original article as a pdf file January 2008 Südwest Presse (Ulm) The Hassler Consort and the outstanding soloists [including Joel Frederiksen] performed sacred works: wonderful ornamentation, a harmonic richness, and a nearly Monteverdi-esque text expression. June 2005 Süddeutscher Zeitung, program "Orpheus, I am" The title can be traced back to a ballad from Robert Johnson and also refers to Frederiksen's most recent solo recording. A comparison to the great Greek ballad singer, who with his song could bring even stones to tears, need not intimidate Frederiksen: his bass is magnificently sonorous and his play ornate.When Frederiksen sings, he warms the heart. The well-attended Baroque hall of the cloister overflowed with beguiling sounds that were presented with charming naturalness. The audience listened spellbound, as if eavesdropping, to the modern Minnesinger. With charm and humour he wound the audience around his finger... Complete Press Review >> June 2005 Süddeutscher Zeitung "Orpheus, I am" from Robert Johnson set the tone already at the opening of the evening of the cultured aesthete, As the warm bass of Frederiksen captured immediately and securely the lyrical note. The filigreed spinning of the 8-course Renaissance lute took over and filled out the other voices and gave Frederiksen the opportunity for virtuosic, artful playing with delight in the fine ornamentation.. On top of three encores--in this instance from John Dowland--came frenetic applause. February 2005 Vaihingerkreiszeitung "Breake now my heart and dye" (Campion)-was sung with the wonderful, warm voice of the American bass, Joel Frederiksen. August 2004 Lippisches Kultur-Journal, Project "Villegiatura" Love is beautiful. Life is beautiful. The festival ensemble, that under the leadership of Joel Frederiksen was made up of singers and instrumentalists from renowned early music ensembles, was all-together first-class, virtuosic, and in clearly historical groupings they intoned the music of Bartolomeo Tromboncino, Marchetto Cara, Adrian Willaert, and Jacques Arcadelt. The music left the hearts of the hearers dancing. July 2004 Neue Westfälische Zeitung Frederiksen succeeded in proving what magical affect this music can have. The sound of his warm timbred, strongly expressive coloratura bass melted with the clear lute playing and sensitively developed the colorfulness and emotional depth of pieces from Attaingnant, Vallet, Crecquillon, Bataille, Guedron, and Rigaud. September 2002 Westfalenblatt Joel Frederiksen presented the Ballads of the French masters with great depth of feeling and "Noblesse". His warm, sonorous voice is full of expression and rich modulation. September 2002 Vaihingerkreiszeitung, "Amarillis, my Love" with Verena Weiss With his pleasant to hear, sonorous bass interpreted Joel Frederiksen clearly and sensitively pieces from the 15 and 16 Hundreds by largely, though unjustly, forgotten English composers such as Thomas Campion, Thomas Ford, Thomas Morely, and King Henry VIII, or the Italian Giulio Caccini, as well as songs with unknown composers. The artist accompanied himself on the lute and was in this as perfect as are the up to 450 year old love-songs. The singing of Joel Frederiksen and the dance of Verena Weiss bonded in a mystical oneness. July 2002 Fanfare I have been consistently impressed by the singing of bass Joel Frederiksen, [he] is sonorous elegance personified. November/December 2000 The Boston Globe Outstanding bass Joel Frederiksen brings a bedroom voice to love songs. ...Bass Joel Frederiksen's frisky, supple "Can she excuse my wrongs" rang with big, buzzy low notes. ...Bass Joel Frederiksen sang with intent musicality and resonant, focused tone. ...highlights of the concert were the deep mahogany tones of Joel Frederiksen, bass. November 2000 American Record Guide I would buy a disc just for any number sung by Joel Frederiksen, whose magnificent bass is by now well known in the early music world. October 1999 New York Times The vocal work of Joel Frederiksen, a bass, has both character and expressivity. September 1999 Frankfuter Allgemeine Zeitung The absolute high-point of the opening celebration: the bass Joel Frederiksen intoned madrigals of the 16th and 17th centuries. October 1998 Seattle Post-Intelligencer Joel Frederiksen possesses a remarkably handsome voice and sure manner. December 1997 The Arizona Daily Star, concert with L'antica musica New York The audience heard... in Frederiksen's singing, one of the most natural-sounding basses I've heard in some time. Frederiksen's warm and fluent singing manifested itself best in the songs' ornamentation. January 1997 Le Monde The bass Joel Frederiksen, impeccable madrigalist and powerful singer, made the house melt. November 1997 Pittsburgh Post-Gazette Bass Joel Frederiksen was magnificent in "El paso del Mar Rojo," singing superbly and speaking God's instruction to Moses. April 1992 |
