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Rebecca Ockenden was the singer who most impressively brought out the theatrical nature of Handel\u2019s oratorio and its close affinity with opera. Her soprano voice, with its flexibility and confident coloratura, brought the shifting emotions of Athalia vividly to life. Rebecca Ockenden brought to her role as a charming Iphis a distinctive and personal flavour through her beautiful full-bodied tone and her wonderfully luminous voice. Soprano Rebecca Ockenden (Venus) offered an ethereal, delicately phrased interpretation of the gorgeous tune, \u201cFairest Isle.\u201d A good example of Rameau\u2019s masterful writing of dialogue is in the duo between Cloris and Z\u00e9phyre, perfectly interpreted by Ga\u00eblle M\u00e9chaly and Rebecca Ockenden, with fresh, transparent voices and ideally dramatic character. Cloris submits to her fate with a supporting role, here articulated with the agreeably distinctive and warm vocal timbre of Rebecca Ockenden. The wonderful soprano Rebecca Ockenden touched the hearts of the audience with the pure tone of her voice. Rebecca Ockenden offered a delightful vocal performance in all her arias and recitatives. A sonorously round and beautiful soprano voice with a rich spectrum of expression. The performance of soprano Rebecca Ockenden was enchanting. Her clear voice effortlessly filled the hall. Rebecca Ockenden\u2019s soprano showed versatility and joyous coloratura, while at the same time fitting seamlessly into the ensemble. Among the soloists it was soprano Rebecca Ockenden, with her beautifully flowing, luminous voice, who most stood out. How rich the opera world currently is in highly talented sopranos was demonstrated by Sophie Daneman and Rebecca Ockenden. The two soprano singers Sophie Daneman and Rebecca Ockenden, with their extremely flexible and lively voices, are also convincing in their solo arias. Rebecca Ockenden is an assured and beautiful-voiced Pamina. Rebecca Ockenden, a soprano with crystalline high notes, sparkled in a manner appropriate to the arias she was singing. Rebecca Ockenden, with her flawless voice, devoid of frills but extremely versatile, gave eloquent contours to the text. The highly personal timbre of her voice often dares to go to the very limits of representing grief and despair in a positively naturalistic manner, yet without ever imperilling the roundness of the artistic whole. Her singing corresponds to the ideal of the Baroque age: a contemplative empathy with the inner content of the music develops with vocal power; the strong focal point of her singing is able, like some kind of whirlpool, to draw the sympathetic listener in. Rebecca Ockenden exudes a special musical personality. The radiant simplicity she brought to the aria \u201cHier erstarrt mein Herz und Blut\u201d was especially successful. Among the soloists, it was Rebecca Ockenden who gave the most pleasure with her soprano voice, which carried well in both upper and lower registers. [\/et_pb_text][et_pb_text _builder_version=”4.16″ _module_preset=”default” vertical_offset_tablet=”0″ horizontal_offset_tablet=”0″ z_index_tablet=”0″ text_text_shadow_horizontal_length_tablet=”0px” text_text_shadow_vertical_length_tablet=”0px” text_text_shadow_blur_strength_tablet=”1px” link_text_shadow_horizontal_length_tablet=”0px” link_text_shadow_vertical_length_tablet=”0px” link_text_shadow_blur_strength_tablet=”1px” ul_text_shadow_horizontal_length_tablet=”0px” ul_text_shadow_vertical_length_tablet=”0px” ul_text_shadow_blur_strength_tablet=”1px” ol_text_shadow_horizontal_length_tablet=”0px” ol_text_shadow_vertical_length_tablet=”0px” ol_text_shadow_blur_strength_tablet=”1px” quote_text_shadow_horizontal_length_tablet=”0px” quote_text_shadow_vertical_length_tablet=”0px” quote_text_shadow_blur_strength_tablet=”1px” header_text_shadow_horizontal_length_tablet=”0px” header_text_shadow_vertical_length_tablet=”0px” header_text_shadow_blur_strength_tablet=”1px” header_2_text_shadow_horizontal_length_tablet=”0px” header_2_text_shadow_vertical_length_tablet=”0px” header_2_text_shadow_blur_strength_tablet=”1px” header_3_text_shadow_horizontal_length_tablet=”0px” header_3_text_shadow_vertical_length_tablet=”0px” header_3_text_shadow_blur_strength_tablet=”1px” header_4_text_shadow_horizontal_length_tablet=”0px” header_4_text_shadow_vertical_length_tablet=”0px” header_4_text_shadow_blur_strength_tablet=”1px” header_5_text_shadow_horizontal_length_tablet=”0px” header_5_text_shadow_vertical_length_tablet=”0px” header_5_text_shadow_blur_strength_tablet=”1px” header_6_text_shadow_horizontal_length_tablet=”0px” header_6_text_shadow_vertical_length_tablet=”0px” header_6_text_shadow_blur_strength_tablet=”1px” box_shadow_horizontal_tablet=”0px” box_shadow_vertical_tablet=”0px” box_shadow_blur_tablet=”40px” box_shadow_spread_tablet=”0px” global_colors_info=”{}”]<\/p>\n Lute song reviews<\/strong><\/p>\n \u201cThe concert given by Rebecca Ockenden and Sofie Vanden Eynde was a pure joy. Their trueness of tone, their apt and finely gauged expression and the radiance of the voice touched our hearts deeply. These two musicians exerted such a spell over us that we could scarcely extricate ourselves from the world into which they had plunged us, simply by the compelling power of their sincerity.\u201d \u201cRebecca Ockenden and Sofie Vanden Eynde offered us a sophisticated and well-coordinated programme with Dowland as its focus. The lute playing proved as captivating as the agile, expressive and pure-toned soprano voice, marked by clear articulation and an eloquence, which were supported by a delightful gift for acting. This was a concert which concluded with a long ovation.\u201d \u201c<\/em>This is a lovely disc. Rebecca Ockenden is a soprano, and a very fine one. The singing is excellent, as is the luting. These are demanding songs, pitched quite high, many of them requiring a strong, projected voice, and given here with just the right amount of expressive word-painting. Anyone with an interest in this repertoire needs this disc.\u201d [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" Rebecca Ockenden Soprano Press Rebecca Ockenden was the singer who most impressively brought out the theatrical nature of Handel\u2019s oratorio and its close affinity with opera. Her soprano voice, with its flexibility and confident coloratura, brought the shifting emotions of Athalia vividly to life.Handel\u00a0AthaliaBasler Zeitung Rebecca Ockenden brought to her role as a charming Iphis […]<\/p>\n","protected":false},"author":7,"featured_media":0,"parent":0,"menu_order":10,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"class_list":["post-1659","page","type-page","status-publish","hentry"],"yoast_head":"\n
Handel\u00a0Athalia
<\/em>Basler Zeitung<\/p>\n
Handel\u00a0Jephtha
<\/em>Engadiner Post<\/p>\n
Purcell\u00a0King Arthur
<\/em>Les Arts Florissants, William Christie
San Francisco Classical Voice<\/p>\n
Rameau\u00a0Z\u00e9phyre
<\/em>Les Arts Florissants, William Christie
Filom\u00fasica, Spain<\/p>\n
Rameau\u00a0Z\u00e9phyre
<\/em>Les Arts Florissants, William Christie
Gramophone\u00a0Magazine<\/p>\n
Mendelssohn\u00a0Psalm 42
<\/em>S\u00fcdostschweiz<\/p>\n
Mendelssohn\u00a0Psalm 42<\/em>
Engadiner Post<\/p>\n
Orff\u00a0Carmina Burana<\/em>
<\/em>Neue Zuger Zeitung<\/p>\n
Haydn\u00a0Nelson Mass<\/em>\u00a0and Bach\u00a0Magnifica<\/em>t
Neue Zuger Zeitung<\/p>\n
Hasse\u00a0Miserere
<\/em>Basellandschaftliche Zeitung<\/p>\n
Rameau\u00a0Z\u00e9phyre\u00a0<\/em>and\u00a0La Guirlande
<\/em>Les Arts Florissants, William Christie
Berlinonline<\/p>\n
Desmarest\u00a0Grands Motets Lorrains
<\/em>Les Arts Florissants, William Christie
klassik.com<\/p>\n
Mozart\u00a0Die Zauberfl\u00f6te<\/em>, Goetheanum
Basler Zeitung<\/p>\n
Handel,\u00a0Messiah
<\/em>Nice-Matin<\/p>\n
Handel\u00a0Messiah
<\/em>B\u00fcndner Tagblatt<\/p>\n
Monteverdi\u00a0Pianto della Madonna<\/em>\u00a0and\u00a0Lamento d\u2019Arianna
<\/em>Wiesbadener Kurier<\/p>\n
Monteverdi\u00a0Scherzi musicali<\/em>, Lambert\u00a0Airs de cour<\/em>, Purcell\u00a0Songs
<\/em>Wiesbadener Kurier<\/p>\n
Keiser\u00a0Markus-Passion<\/em>, Wiesbaden
Wiesbadener Tagblatt<\/p>\n
Handel\u00a0Alexander\u2019s Feast
<\/em>Basler Zeitung<\/p>\n
Love\u2019s Labour\u2019s Lost<\/em>\u00a0programme
Crescendo Magazine, Brussels<\/p>\n
Love\u2019s Labour\u2019s Lost<\/em>\u00a0programme, Festival Midi-Minimes, Brussels
La Libre Belgique<\/p>\n
CD:\u00a0Mistress Elizabeth Davenant, her Songes
<\/em>Early Music Review, U.K.<\/p>\n