This is a truly unique voice. David Daniels has an opulent timbre which he uses here to achieve sheer excellence. As much as I hate for his career to be upstaged by anything, knowing that he was tutored by Marilyn Horne seems to establish her vocal qualities as a suitable metaphor. It's that rich, opulent tone and secure vibrato that you don't get with some mezzos, let alone countertenors. No thin-ness here; no `hoot' and nothing shrill. He still has control though, and produces clean, even tones where appropriate. Think of the dramatic requirements of `Der Tod und das Madchen' and the celestial purity of `Absence' or `Ser'- he more than merely achieves the standards, he surpassed them and has set his own seal of distinction.

The choice of songs/arias is itself brilliant and Mr. Daniels' technique needs high praise. As a very minor observation, his diction, though good, doesn't come across as completely idiomatic. This is a VERY minor issue though. The pianist, Martin Katz is very responsive to the style of singing. Mr. Daniels' ability to sustain a phrase with grace and beauty is matched by Mr. Katz's sensitive touch and timing.

In parting, I recommend the ethereal experience of `Orpheus with his lute' (my favourite). The words, a Shakespearean sonnet, are of a straightforward beauty and the melody is from another realm but the singing? Mr. Daniels vocal control and phrasing are exquisite and his tone is sublime. Close your eyes and listen to this one quiet evening. "In sweet music is such art, killing care and grief of heart. Fall asleep, or hearing die." A lute and a song- a simple combination; yet profoundly moving beyond the raging elements. Thank you David.

I cried while I was listening to Daniels sing the Vaughn Williams songs. All the rest were pretty good too, especially the Gounod and Italian songs. I have heard Daniels in his earlier discs and in performance, and I think he is maturing and deepening in both his range and his ability to convey nuance and feeling. Some of my friends have said that his rendition (both) of "Adelaide" were underpowered and wispy, but he is NOT a Heldentenor, has never pretended to be one, and I think an interpretation of "Adelaide" that does not evoke Tristan singing of his Isolde is just as valid. The beauty of his tone is wonderful. His increasing technical prowess as well as ability to project emotion is, in my humble opinion, gaining as the years go by. Do listen to this CD.

Yes,although I work in the Opera world, I was in a musical depression until I heard this truely amazing recording.Davids diction in all languages is perfect, the voice,there are not enough supelatives that do him justice,and last but by no means least his musicality is outstanding,to me he uses his voice as an orchestral instrument ( like a Clarinet) hopefully David will understand what I mean.I look forward to many more Recital Discs,especially Lieder.Well I could go on and on about this unique voice but I must stop now.MORE RECITAL DISCS PLEASE