Decorated by Diapason (5 de Diapason), kulturradio rbb (Five k’s) and Radio Stephansdom (CD of the Day).
Recommended by BBC Music Magazine (Music Choice – Choral & Song), Gramophone (Editor’s Choice), france musique (le choix de france musique), Concerto, SWR2 Alte Musik, Rondo, MDR Figaro, BR Klassik and Thüringische Landeszeitung.
Georg Philipp Telemann (1681-1767)
‘Hoffnung des Wiedersehens’
Arias, Opera inserts, Secular Cantatas, Concertos
Dorothee Mields, soprano
Martin Jopp, violin
Carin van Heerden, oboe d’amore
Michi Gaigg, direction
Arias from Omphale TWV 21:14 (Hamburg 1724)*, for Nebucadnezar TWV 22:6 and Janus TWV 22:7 (Reinhard Keiser, Hamburg 1728/1729)*, Almira TWV 22:13 and Ricardo Primo TWV 22:8 (G. F. Handel, Hamburg 1732/1729)*
Cantatas „Mein Vergnügen wird sich fügen“ TWV 20:18
(from Sechs Cantaten nach verschiedenen Dichtungen, Hamburg 1731)
& „Die Hoffnung des Wiedersehens“ TWV 20:70*
Concerto in D major for Violin, Strings and B.c. (for Nebucadnezar TWV 22:6)*
Concerto in E minor for Oboe d’amore, Streicher and B.c. TWV 51:e2
* first recordings
(deutsche harmonia mundi / Sony Music 2012)
Telemann touches the sublime
The crystal clear quality of Dorothee Mields’s singing has already graced many albums of German mid- to late-Baroque music. Her vocal quality, secure intonation and tasteful use of ornamentation characterise performances that are further enhanced by her sensibility to music and text like.
This attractive disc is no mere litany of arias extracted from larger works, but a thoughtfully constructed programme in which two instrumental concertos and a secular cantata are interspersed with shorter vocal items. The concertos are for violin and oboe d’amore respectively, and appeal for their rhythmic vitality and idiomatic writing. Telemann was a competent performer on both instruments and he knew very well how to draw on their strengths. Soloists Martin Jopp (violin) and Carin van Heerden (oboe d’amore) are fluent advocates for infrequently encountered pieces and they are given lively support by L’Orfeo Barockorchester under Michi Gaigg’s direction. […] A delight from start to finish.
BBC Music Magazine, Nicholas Anderson, August 2013
Telemann with sensitivity
Linz-based L’Orfeo Baroque Orchestra and soprano Dorothee Mields joint Telemann Album is Editor’s Choice:
[…] an intelligently planned programme that flows ideally between contrasting musical moods, textures, keys and genres, all sensitively played by L’Orfeo (expertly directed by violinist Michi Gaigg) … It is hard to think of a better specialist German Baroque soprano than Mields at the moment; her flawless tone, awareness of instrumental interplay, delivery of poetry and shapely phrasing provide nothing but undiluted pleasure.
Gramophone: The Classical Music Magazine, David Vickers, June 2013
Dorothee Mields […] fait merveille dans l’aria “Mein Vergnügen wird sich fügen” en dialogue avec la flûte. Sa candeur mutine, qu’un soupçon de lumière – ou de fragilité sublime – hisserait au niveau d’illustres devancières comme Barbara Schlick ou Agnès Mellon, s’allie idéalement au phrasé inspiré de Michi Gaigg et ses musiciens. Ils cisèlent des miniatures affûtées, déliées, couleurs tendres et discours ferme. Seuls, ils offrent aussi deux concertos gouleyants, joyeusement millimétrés.
Diapason, Sophie Roughol, Mars 2013, 5 de Diapason
[…] The CD reminds one of a colourful flower bouquet. The interpretation is in exceptionally good style and presents grand art in less than 70 charming minutes. Careful, you might become addicted!
Concerto – Das Magazin für Alte Musik, Olaf Krone, July/August 2013
Music to revel in.
Thüringische Landeszeitung, Wolfgang Hirsch, 12 January 2013
What a treat for the ears when Dorothee Mields sings!
SWR2 Alte Musik, Doris Blaich, 8 November 2012
Dorothee Mields’ uniquely flexible and smooth soprano mixes perfectly with the different instruments. In spite of this versatility she never looses sight of her own individual vocal characteristics. This is apparent for example in her precise dealings with language. Especially in a time, “post Emma Kirkby” so to speak, in which Baroque singing seems to wander off into an undifferentiated narcissistic “Bartolism” personalities like Dorothee Mields once again honour and bring to life earlier achievements with responsible integrity – a new release that will undoubtedly contribute to add to Georg Phiipp Telemann’s reputation.
Rondo Magazine, Michael Wersin, 10 November 2012
Clear as a bell and inspired
[…] I find the naturalness of the singer especially impressive. Dorothee Mields can afford not to be forceful or to be operatic since she has it all: a brilliant technique, flawless placement of the voice, moving between registers with such ease that she reminds the listnener of a boy soprano, with little vibrato but light, not tight, and very virtuosic. Her voice is clear as a bell but also intimate. She enchants the listener and makes the music sound even more precious with her enriching interpretation.
The orchestra, directed by Michi Gaigg, melts splendidly with her sound. It plays as clear and light-footed and as inspired.
kulturradio rbb, Astrid Belschner, 19 November 2012 – highest score: kkkkk
[…] A CD release which shows that, as far as Telemann is concerned, not all has been said and done yet.
MDR Figaro, das Kulturradio, Recommendations by André Sittner, 26 November 2012
[…] Dorothee Mields is brilliantly accompanied by the L’Orfeo Braockorchester directed by the violinist Michi Gaigg […]. This Austrian orchestra has gained a remarkable reputation during the last 15 years. The ensemble from Linz counts among the leading period instrument orchestras. It hasn’t lost any of its enthusiasm over the years, on the contrary […].
Bayerischer Rundfunk, Leporello, Dirk Kruse, 28 November 2012