What is a Chausson pastry
"Davislim possesses a superbly powerful lyric voice, perfectly balanced in all registers with a touch of blithe dramatic expression in delicate passages. Particularly impressive was the way in which he immediately swung into completely different emotional moods from song to song: employing supple lines, delicate then powerfully lively to express Schubert's "An Mignon" then suddenly brilliant in "Der Musensohn".
"Davislim's voice has excellent lyrical power, perfectly balanced in all registers, and also in the intimate passages with a dash of carefree theatricality. Particularly inspiring, how he can immerse himself in completely opposite emotional moods immediately from one song to the next: smooth curves, the interpretation in Schubert's «Mignon» and briskly erupting in «Musensohn» is as subtle as it is powerfully lively. "
Martin Preisser, Tagblatt.ch, song recital St. Gallen January 2019
"The splendid tenor voice (Steve Davislim) rose mellifluously with lyric brilliance."
(“The wonderful tenor voice rose in a lyrical high beam.” Baden-Baden / Festspielhaus: “MISSA SOLEMNIS” Ludwig van Beethoven December 1st, 2018, Online Merker / Gerhard Hoffman)
Sydney Symphony Orchestra, Simone Young
“In Benjamin Britten's orchestral song cycle Les Illuminations, setting poetry by Arthur Rimbaud, Steve Davislim sang with a noble sound of rich bloom and a natural feel for expressive gesture and stylistic poise.
Peter McCallum, Sydney Morning Herald, Aug.15, 2018
The Abduction from the Seraglio, Reviewed at Teatro di San Carlo,
“..Tenor Steve Davislim was her attractive fiancé Belmonte, singing the role of ardent lover with a mellow and rich tone. Davislim was handsome and elegant and brought out also the thoughtful side of a role which is demanding for deep breath and firm tone control.
Lorenzo Fiorito, Bachtrack October 31, 2017
DieWinterreise, Adelaide Festival 2017,
"..Davislim’s performance was mesmerizing: it was a rare opportunity to be so close to such brilliance".
Greg Elliot, In Daily, March 2017
Bruckner’s Te Deum, Chicago Symphony Orchestra, Riccardo Muti
"The tenor gets most of the duties here and Steve Davislim assayed the challenging high tessitura with security, displaying a plangent tone and expressive poise."
Chicago Classical Review, June 24, 2016 by Lawrence A. Johnson
The Rake’s Progress, Finnish National Opera, Helsinki
“… Helsinki scores well… with the assured elegance of Steve Davislim’s Tom. The tenor’s singing has ease and depth, sophistication and communicative grace. More than anybody else involved, Davislim seems to have understood that Stravinsky’s neoclassicism was just a vehicle for expressing something he passionately wanted to say. ”.
Shirley Apthorp, Helsinki Financial Times March 2016
Beethoven 9, Vienna Academy Orchestra ..
“… Tenor Steve Davislim was elegant and secure, which is a long shot from the usual taxed-sounding, dying-swan-like efforts one gets to hear from tenors in this work”.
Forbes Magazine, Sept 2015
The Winter Journey, Recital Melba Hall, Melbourne 2007
"it was in the ultimate heroic tone of defiance and ironic acquiescence that Davislim came into his own. This in an actor singer of thrilling intensity and musical beauty. The sensitive accompaniment of Anthony Romaniuk didn't steal his thunder."
John Slavin (The Age)
"Turbulent Heart" / Melba Recordings
Queensland Orchestra / Guillaume Tourniaire
Chausson “Poème de l’amour et de la mer”
** Le Diamant d'Opéra ** (Special Commendation)
A most unexpected lesson from the Antipodes.
"as powerfully sure in the lower notes and as he is shining in the highest ... add to this exemplary French diction and phrasing, an expressive use of rubato, a warm tone color, a natural musicality; one finds oneself running out of superlatives . "
Audiophile Audition (US)
Davislim’s voice soars with all of the passion inherent in Chausson’s exquisitely rendered score ... I loved it (the disc), with thanks to Davislim’s great interpretative nuances and the superb playing of the Queensland Orchestra.
This disc is a must have from this year's crop.
Classic FM Magazine (UK) (February 2010)
"Davislim sings with power, nobility and heart-rending emotion."
Vierne: “Les Djinns”, “Eros”, “Ballade du Désespérés”, “Psyché”
“Certainly Australian tenor Steve Davislim is every bit as impressive here as in the Vierne— and this is highly distinguished singing by any reckoning — while the Queensland Orchestra, on absolutely cracking form, clearly relish the opulence of Chausson's orchestral textures… On every count, this is a magnificent release. "
Gramophone (December 2009) / Marc Rochester
“The tenor Steve Davislim lends his luminous voice, his perfect diction and welcome dramatic sense to these works in an approach heightened by the inspired conducting of Guillaume Tourniaire. The latter is a miraculous accompanist, supporting the voice with ideal precision. In short, this is an indispensable disc of French vocal music presented in a faultless SACD recording. "
Jean-Jacques Millo OPUS HAUTE DÉFINITION (France)
Classic FM Magazine (UK)
Stirring the soul - tenor Steve Davislim brings a wonderful array of colors to the storm-tossed music of Vierne and Chausson
***** 5 stars
"Davislim sings with power, nobility and heart-rending emotion, borne along by the impassioned playing of The Queensland Orchestra ..."
Classic FM (February 2010) - Editor’s choice
“… This could well be the discovery of 2009, featuring thrilling first performances of orchestral songs that churn and boil with drama and emotion… Inspired performances all round, then, in textbook perfect sound and lavish packaging, Turbulent Heart boasts three fast-rising young names to look out for in the years ahead: Davislim, Tourniaire and the enterprising Australian label, Melba Recordings. "
Michael Quinn BBC MUSIC.CO.UK
Tchaikovsky: Eugene Onegin, Hamburg State Opera, April 2007
"The best performance of the evening came from Steve Davislim, who, as Lenski, possessed exactly the right mixture of poetic enthusiasm and melancholy, and also had a very relaxed and highly musically led tenor with pleasant timbres up to a safe height."
Orpheus, July / August 2007, Hartmut Kühnel
Zemlinsky: Der Traumgörge, Deutsche Oper Berlin, May 2007
“Two young, devoted singing artists are a real stroke of luck for the predominantly friendly evening. Steve Davislim, with his beautiful lyrical tenor, gives Görge a pleasant askutische presence and gets through the extensive and demanding role in an admirable way and is a real discovery. "
Orpheus, July / August 2007, Ingrid Wanja
"A Görge who sounds beautifully is Steve Davislim."
NZZ, 6 June 2007, Georg-Friedrich Kühn
"... above all Steve Davislim shone in the title role with a lyrical tenor."
The new marker, June 2007, K.W.H.
"Steve Davislim sings outstandingly as Görge ..."
Financial Times Germany, Joachim Lange
"Steve Davislim manages to bring charisma and intelligence to the murderously difficult role, singing with lyrical refinement and courage."
Financial Times, Shirley Apthrop, June 5, 2007
“But Steve Davislim makes up for the pallor of the title character musically, even if he is often placed acoustically unfavorably. Lyrically supple, its tenor also has baritone strength, which is mainly used in the second act. Davislim steadfastly masters this grueling game, with the carefully balancing Jacques Lacombe helping him through the ditch with virtuosity. "
Opernwelt, June 2007, Olaf Wilhelmer
"Steve Davislim sings touchingly about this dream of being healthy in a slim voice."
Berliner Zeitung, 29 May 2007, Wolfgang Fuhrmann
"Steve Davislim in the title role sings beautifully, coherently, coherently, with a warm timbre and fabulous text intelligibility."
ND, Rober Becker, May 30, 2007
"Steve Davislim throws himself into Görge's grueling tenor role with all his might."
New Germany, Roberto Becker, 30 May 2007
Mozart: The Magic Flute / Tamino, Teatro San Carlo
"... Steve Davislim was fully at ease with the role of Tamino, displaying smooth singing and refined acting ..."
Opera, Enrico Tellini, March 2007
Haydn: The Creation, Haydn days Eisenstadt, Adam Fischer, September 2006
"Steve Davislim with a light and safe tenor ..."
Kurier, Helmut Christian Mayer, 9 September 2006
"Steve Davislim with a warmly timbred tenor ..."
Die Presse, Gerhard Kramer, September 12, 2006
"Steve Davislim brings in a pleasantly timbred tenor and a precisely contoured interpretation ..."
Krone, Oliver A. Láng, 10 September 2006
Trade: Ariodante / Lurcanio, Barcelona, May 2006
“As Ariodante's brother Lurcanio, Steve Davislim delivered an all-round convincing performance; the lyrical tenor has a rich substance and a very sensitive sound, from which his aria “Del mio sol vezzosi rai” particularly benefited. "
Orpheus, July 2006
Don Ottavio, Teatro San Carlo Napoli (Naples), April 2006
“Steve Davislim is also exceptionally good as an eminently coloratura confident, masculine and nobly timbred and elegantly singing Don Ottavio.
Orpheus, Rolf Fath, July 2006
Martin: Le vin herbé, Berlin, RIAS Chamber Choir with Daniel Reuss, February 22, 2006
The grandiose tenor Steve Davislim gives the sad hero deeply touching contours without any tenor antics and mannerisms.
Der Tagesspiegel-Online, February 24, 2006, Uwe Friedrich
Idomeneo, La Scala, 7 December 2005
"Steve Davislim headed a cast of uniformly excellent voices ... but it was Davislim’s ravaged ruler who most commanded attention. The role demands lyricism, pyrotechnic agility and profound dramatic weight. Davislim combined all these qualities with dramatic charisma and exceptional musical intelligence. Each note had weight and meaning, each phrase direction. He made the ill-fated monarch’s inner struggles utterly real and moved around La Scala’s broad stage with leonine grace. "
The Weekend Australian, December 9, 2005, Shirley Apthorp
"Steve Davislim sang a beautifully poised and cleanly tuned Idomeneo, unfazed by the challenge of" Fuor del mar "."
Telegraph, December 10, 2006, Rupert Christiansen
"In the title role, Australian tenor Steve Davislim made a strong impression, combining a burnished lower-middle register with an easy head-voice, fluent coloratura, solid legato and persuasive diction."
Opera News, Stephen Hastings, March 2006
"Steve Davislim had stage presence, balmy timbre and strong coloratura."
FT. com, December 10, 2005, Andrew Clark
"The singers also earned praise, including Australian tenor Steve Davislim, Idomeneo."
SFGate, December 7, 2005, Antonio Calanni
"Steve Davislim impressed as Idomeneo."
Guardian, December 9, 2005, Martin Kettle
“In the title role, Steve Davislim was captivating, whose idomeneo showed all the facets of the suffering father who withdrew in dignity at the end. After the understandable premier nervousness, the dreaded coloratura of “Fuor del mar” came with great cleanliness at this fourth performance. "
The new marker, January 2006, Eva Pleus
"All the main characters are made up of young people, ... and Steve Davislim in the title role need not fear comparison with big names."
Salzburger Nachrichten, 9 December 2005, Derek Weber
“The singers, not always with big voices, but with a confident and correct style, fitted into this concept: .. Steve Davislim's youthful tenor, Idomeneo.”
Opernwelt, February 2006, Dietmar Polacek
"Steve Davislim sings the Idomeneo without spectacular posturing, virtuoso in the bravura aria of the second act and intimately in the peripheries of the third act."
NZZ, 9 December 2005, Peter Hagmann
“Nel cast vocale, quasi tutto di debuttanti alla Scala, è una bella sorpresa il giovane tenore Steve Davislim nel ruolo del protagonista. Idomeneo autorevole, di bel timbro e fraseggio elegant, capace di chiaroscuri efficaci nell’aria “Vedrommi intorno l’ombra dolente” e tecnicamente ferrato nelle colorature di “Fuor del mar”. "
Il messaggero, 8 December 2005, Alfredo Gasponi
"Steve Davislim, vestito con la cerata della Tempesta perfetta, ha voce morbida e calda, un bel legato e sfumatura, una vocalizzazione niente male."
Il Giornale. 8 December 2005, Sabrina Cottone
"Steve Davislim, australiano mistosangue irlandese-malese è un Idomeneo dal timbro scuro, espressivo e dalla presa scenica."
Corriere de l Ticino, 9 December 2005, Elsa Airoldi
Beethoven, Christ on the Mount of Olives, Op. 85.
“To the role of Jesus, Steve
Davislim brings both beauty of voice and mellifluous utterance even in
the highest register. "
Stephen Pruslin © International Record Review 2001
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