2010
"Crowe executes the changes of mood and feeling with great sensitivity and understanding--and admirable ease. This ease is also evident in his technique. Crowe effortlessly moves out of the depths into the uppermost ranges. When he reaches the top, his voice fills the great space of the church, at times penetratingly. This makes the effect of Crowe’s voice in the soft passages even more delightful. He matches his voice exactly to the organ in the beginning of the motet “Domine, Deus Meus”, emerging through tremolo with ornamentations precisely sung. Once he arrives in the rush of ornamentation, the singer further decorates the final motet with an extravagant cadenza."
-staff-
For Carissimi Motets in concert, Darmstäder Echo, February 24, 2010 (from the original German)
"Robert Crowe presented in two solo motets of Giacomo Carissimi the other extreme of the male voice, penetrating into the chilly heights, contrasting with the expressively warm piano."
-Klaus Kalchschmid-
For Diaolog della Madonna: duo concert with basso profundo Joel Fredericksen‘, Süddeutsche Zeitung, December 7, 2010 (from the original German)
For Sesto in Mozart's La Clemenza di Tito in the Bode-Museum Berlin
"The poised, clear, at times penetrating countertenor of Robert Crowe made Sextus’ inner conflict palpable. The high point of the evening was his aria “Parto, ma tu ben mio” in which he—in a magical internal dialogue with the clarinet—sings himself the courage for the assassination attempt."
-Marco Schmidt-
Münchner Merkur, November 3, 2010 (from the original German)
"Brilliant, above all others, countertenor Robert Crowe"
-HK-
Berliner Zeitung, October 30, 2010 (from the original German)
"...and especially Robert Crowe’s male soprano enraptured the public."
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Märkische Oberzeitung, October 30th (from the original German)
"His aria, „Parto, ma tu ben mio“, in which Sesto sings himself the courage for the attack, was one of the highlights of the evening."
-Udo Badelt-
Der Tagesspeigel, October 30, 2010 (from the original German)
"Countertenor Robert Crowe sings with bell-like clarity and compels the audience again and again to scene-breaking applause. "
-Claudia Duda-
Die Mark Online, November 1, 2010 (from the original German)
"From a distance, his gripping sonority, puissant inflections and sensual vibrato recollect acoustic recordings of sopranos long past. His technique -- if you can even use that word in his case -- is astounding. It's as though his gifts were endowed, not developed: no perceptible breaks between registers, solid at the bottom, malleable in the middle and resplendent at the top. He is also blessed with a swimmer's torso and can rattle off ornamentations while crawling snake-like along the catwalk. Crowe apparently concentrates his professional activity on pre-romantic repertory, but it would be fascinating to hear what he does with Orsini, Bellini's Romeo or even Oscar and Oktavian. … Titus continues at the Bode Museum through 19 December. If you can manage to get in -- it's pretty much sold out -- it will open a new window onto Mozart's masterpiece, especially if Crowe is performing."
-Sam Sharikawa-
OperaBlog, November 29, 2010
-staff-
For Carissimi Motets in concert, Darmstäder Echo, February 24, 2010 (from the original German)
"Robert Crowe presented in two solo motets of Giacomo Carissimi the other extreme of the male voice, penetrating into the chilly heights, contrasting with the expressively warm piano."
-Klaus Kalchschmid-
For Diaolog della Madonna: duo concert with basso profundo Joel Fredericksen‘, Süddeutsche Zeitung, December 7, 2010 (from the original German)
For Sesto in Mozart's La Clemenza di Tito in the Bode-Museum Berlin
"The poised, clear, at times penetrating countertenor of Robert Crowe made Sextus’ inner conflict palpable. The high point of the evening was his aria “Parto, ma tu ben mio” in which he—in a magical internal dialogue with the clarinet—sings himself the courage for the assassination attempt."
-Marco Schmidt-
Münchner Merkur, November 3, 2010 (from the original German)
"Brilliant, above all others, countertenor Robert Crowe"
-HK-
Berliner Zeitung, October 30, 2010 (from the original German)
"...and especially Robert Crowe’s male soprano enraptured the public."
-staff-
Märkische Oberzeitung, October 30th (from the original German)
"His aria, „Parto, ma tu ben mio“, in which Sesto sings himself the courage for the attack, was one of the highlights of the evening."
-Udo Badelt-
Der Tagesspeigel, October 30, 2010 (from the original German)
"Countertenor Robert Crowe sings with bell-like clarity and compels the audience again and again to scene-breaking applause. "
-Claudia Duda-
Die Mark Online, November 1, 2010 (from the original German)
"From a distance, his gripping sonority, puissant inflections and sensual vibrato recollect acoustic recordings of sopranos long past. His technique -- if you can even use that word in his case -- is astounding. It's as though his gifts were endowed, not developed: no perceptible breaks between registers, solid at the bottom, malleable in the middle and resplendent at the top. He is also blessed with a swimmer's torso and can rattle off ornamentations while crawling snake-like along the catwalk. Crowe apparently concentrates his professional activity on pre-romantic repertory, but it would be fascinating to hear what he does with Orsini, Bellini's Romeo or even Oscar and Oktavian. … Titus continues at the Bode Museum through 19 December. If you can manage to get in -- it's pretty much sold out -- it will open a new window onto Mozart's masterpiece, especially if Crowe is performing."
-Sam Sharikawa-
OperaBlog, November 29, 2010
