American crits: … a singer who gave the impression that he understood and cared deeply about every word. The music, whether subtle or not, was invariably eloquent and on the mark. St. Louis Post-Dispatch (USA) His readings, especially of the Stravinsky, were lovely. The St. Louis Globe-Democrat (USA) … Albert was a spellbinder. He could convey a world of meaning with a glance or gesture, and he could make his voice do nearly anything in any language or genre. He has few peers among recitalists: of those on the stage today, only Marilyn Horne and Barbara Hendricks come to mind… His vocalism was uncanny. He could make his low notes into hollow caverns or rich chocolate truffles; he could spin out a gold bar of a high note into a gossamer thread of perfectly controlled sound, and he could pass imperceptibly from chest voice into falsetto and back again. Always in complete control, he never let his performances degenerate into empty displays of singing or acting. Las Vegas Review-Journal (USA) … but most remarkable was the cavernously sonorous bass of Laurence Albert, a rich and very individual sound. The Chicago Tribune (USA) … For his part (Rigoletto), Albert’s voice is a strong, well-rounded instrument that imparts power and beauty as well as profound emotion. The Memphis Business Journal (USA)
Posted on: Fri, 25 Jul 2014 22:39:09 +0000
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