Reviews

“In this magnificent live recording, the musicians of Tempesta di Mare and concertmaster Emlyn Ngai offer an impeccable orchestral palette for restoring this long-forgotten music to life.” Early Music America Magazine (US), September-October 2008.

“The concert performances [on Fasch Orchestral Music] are fresh, vibrant, and spontaneous, representing the perfect marriage between musical instinct and meticulous scholarship. I don’t know what waits for us in terms of future recordings by Tempesta di Mare, but I’m certainly willing to be patient, especially if content and commitment are even half this good.” Fanfare (US), September-October 2008.

“The American group, Tempesta di Mare from Philadelphia, keeps an easy dance character in this music that strikes an attractive balance between free interpretation and strict baroque dance rhythms. Therefore the bourée from the concerto in B-flat, FWV L:B3 sounds unrestrained, and the polonaise with which the overture closes is fluidly and supply performed. Fasch's music is clearly beautiful enough to merit rediscovery.” Kwadratuur (Belgium), September 2008.

5 Stars: “The live concert recording [Fasch Orchestral Music] radiates a tangible sense of joy and civilized charm. Dance-like movements that feature graceful string passages, mellow horns, sweet oboes and soft flutes, create an appealing courtly atmosphere. Tempesta di Mare’s playing is never less than lovely, and I particularly enjoyed the flutes and oboes in the opening Allegro of the Concerto in D. The “Aria en Pologneise” that concludes the Ouverture Gross in D epitomises these good-natured and lovingly crafted performances.” Goldberg Magazine (Pamplona), August 5, 2008.

“Tempesta di Mare is at the cutting edge of the re-discovery of Fasch’s output—this excellent and thoroughly enjoyable recording [Fasch Orchestral Music] is based largely on their second concert of repertoire from Dresden. Tempesta di Mare really brings the glorious sound of Heinichen and Pisendel’s famous orchestra (which Fasch knew first hand) to life.” Early Music Review (UK).

“J.F. Fasch would be a much more famous composer today if a large number of his manuscripts hadn't been destroyed in the bombing of Dresden during WWII. However, some of them did survive, and this wonderful disc of four never-before-recorded orchestral works is one result. The Philadelphia-based Tempesta di Mare orchestra (on period instruments) plays with both accuracy and passionate excitement. Very highly recommended.” CD Hotlist: New Releases for Libraries, June, 2008.

“The Philadelphia based period instrument band Tempesta di Mare eschews the driven, highly rhetorical style of some European ensembles, and instead prefers a more relaxed and elegant approach. It sustains Fasch’s longer movements well by listening to what the composer has to say rather than overlaying a strong interpretative varnish of its own.” International Record Review (UK).

“These concertos and overture [on Fasch—Orchestral Music] are performed by the very fine baroque ensemble Tempesta di Mare, which has already released a beautiful Handel disc. They have chosen only world premieres for what is an ideal disc to celebrate the composer's 250th anniversary, for which the imagination of this orchestra is extremely well equipped. The musicians of Tempesta di Mare show all of their colors in this vital and brilliant music.” Abeille Musique (Paris), May 1, 2008.

“Crisp, foot-tapping rhythms; clear-cut tunes; and occasionally weird-sounding harmonic shifts are all terms that well describe the four works on Chandos' Johann Friedrich Fasch: Orchestral Music, featuring Philadelphia-based Baroque ensemble Tempesta di Mare. For a group that consists of only 26 musicians, Tempesta di Mare has a huge, solid sound and this recording has more presence than anything that has come from this label in quite some time. Chandos' Johann Friedrich Fasch: Orchestral Music could be a harbinger of exciting things to come.” allmusic.com, May 2008.

“A great baroque concert in Philadelphia.” American Public Media’s Performance Today, November 30, 2007.

“This seriously addictive disc should make New Yorkers envy Philadelphia for its sparkling early-music orchestra, Tempesta di Mare. Here, the group's five expert core players pay handsome tribute to Handel. Soprano Julianne Baird joins them for the Nine German Arias. Highly recommended for lazy Sunday mornings. Four Stars.” Time Out New York, October 4, 2007.

“Several other leading lights of the early music vocal scene have offered strong recordings of these [Handel's German] arias, but this American version, featuring soprano Julianne Baird with Tempesta di Mare, is ideal. In fact it sets a new standard for historically informed Baroque recordings in the U.S., a country not currently in the forefront of developments in the field. It is respect for the intimate quality of the music that sets this recording apart: Baird has the agility to execute Handel's ornate vocal lines at a low volume, and the entire group exudes a quiet intensity that's a perfect match for the nature imagery of the texts. Group co-founder Gwyn Roberts, who has recorded the technically brutal recorder sonatas of Francesco Veracini in the past, is especially noteworthy on recorder and transverse flute, and the sound, recorded in a small college auditorium, effectively conveys the close quarters in which this music would originally have been played; a church recording would tend to lose the directness and inward ecstasy so effectively communicated by Baird and the instrumentalists. Highly recommended all around as a superb examination of Handel's quieter side. allmusic.com, September, 2007.

Classical CD of the Week: “Baird—a fine American soprano prized for her outstanding contribution to recordings of Handel operas—sings with a delicate timbre. The singing is exquisitely stylish, as is the playing of Tempesta di Mare, who shine in the F major and B minor trio sonatas.” The Sunday Times (London), August 12, 2007.

“For the label Chandos, the very fine baroque ensemble Tempesta di Mare and soprano Julianne Baird offer a program dedicated to the last works that Handel wrote in German, which were never published in his lifetime. Tempesta di Mare is renowned as one of the best in this repertoire, and they play with a flair that justifies their name. With Julianne Baird, who possesses a natural sound and an exceptional musicality, they serve this hedonistic music magnificently.” Abeille Musique (Paris), July 2007.

“The ensemble Tempesta di Mare performed an all Vivaldi concert last Saturday evening, presented by Early Music Now. The five-member ensemble of two violins, recorder, cello and lute plays with wonderfully tight ensemble, divining one another’s direction in changes of tempo, an important feature of Vivaldi’s style. I appreciated the attentive avoidance of the Baroque auto-gyro syndrome, where a piece is launched and propels itself to an inevitable but dull conclusion. Four of the seven pieces on the program featured solo recorder, played by Gwyn Roberts, who made the best possible case for the instrument, with an even tone and agile ornamentation.” Shepard Express (Milwaukee), March 15, 2007.

“Early Music Now presented Tempesta di Mare in an all-Vivaldi program Saturday. Played indifferently, Vivaldi can sound like a melodious sewing machine. Tempesta was having none of that. They shaped and interpreted the music freely and attractively. In the "La Folia" Variations RV63, they weighted and timed each note of the theme to feel the solemn tread of the dance and its hesitation steps. Humphrey made phrases of the bass lines. Ngai declaimed the Adagio of the Sonata in D RV10 on his violin as if it were an elaborate, ornamented recitative from one of Vivaldi's operas. Ngai came off as the concert's star. Vivaldi was one of the greatest violinists of his day and invented all sorts of new techniques. The speed, rhythmic precision and infinitely varied touch of Ngai's bowing did the master justice.” Journal Sentinel (Milwaukee), March 10, 2007.

“Sunday's concert at the National Gallery of Art was a survey of 16th- and 17th-century Italian music, allowing Drew Minter and the accomplished musicians of Tempesta di Mare to showcase the style, ornamentation and improvisation of that era. Minter's performance of Sigismondo d'India's "Listen to the Nightingale" was a tour de force, the melody perfectly painting the text, which describes the bird's song ("now full, now solemn, now subtle, now soft"). Richard Stone's performance of Giovanni Girolamo Kapsberger's Toccata No. 1 on theorbo (a lute with a stupendously long neck) had the energy of a rock solo and the craft of a classical cadenza. A sonata by Dario Castello was a virtuoso vehicle for recorder player Gwyn Roberts. With her sparkling technique and sensitive attention to musicality, Roberts infused the piece with operatic drama.” Washington Post, June 27, 2006.

“Tempesta di Mare, Philadelphia Baroque Orchestra, closed out its 2005-06 season with the third and final installment of its series entitled "The Grand Orchestra" in Swarthmore College's Lang Concert Hall. The most impressive and memorable aspect of Tempesta's performances of all five scores was the fullness of its overall orchestral tone. Like it or not, even those of us most fond of the sound of baroque instruments must admit that most local period instruments ensembles fail to muster a full-bodied sound. The final result of these limitations is the notion that baroque music, while brightly decorative, remains substantially inexpressive. Under the artistic directorship of Gwyn Roberts and Richard Stone and the leadership in performance of concertmaster Emlyn Ngai, Tempesta di Mare disabused the listener of this nonsense.” News of Delaware County, June 9, 2006.

“In a time when all good things seem to be contracting, Tempesta di Mare, the Philadelphia baroque-music orchestra, swelled to a record-high 22 players on Friday at Lang Concert Hall in Swarthmore, and will stay that way for two future programs, collectively titled The Grand Orchestra. That’s six more players than in the past. “It’s about the power of ‘more,’” the program notes proclaimed. Tempesta di Mare didn’t let itself off easy, in a sophisticated program of strong-minded French baroque composers and volatile Italian eccentrics who wrote some of the trickiest rhythms before Stravinsky. The performances honored this great music, much of which has probably never been heard here before. The major revelation was Jean-Marie Leclair’s suite from the opera Scylla et Glaucus. It’s highly original stuff, with individual sections of the orchestra often marching their separate ways and enjoying a near-choreographic sense of interplay. Is a concert performance of the entire opera too much to hope for?” Philadelphia Inquirer, October 17, 2005

“In Tempesta di Mare's program, you glimpsed Handel in one of his few creative outings with his native language. And with musicians like those in this Philadelphia-based baroque orchestra, not to mention soprano Julianne Baird, you're going to be able to hear the difference of Handel in his most comfortable zone. All elements, vocal and instrumental, had a particularly sublime convergence in "Süsse Stille, sanfte Quelle." Is it possible to convey how magical the experience was?” Philadelphia Inquirer, March 21, 2006.

“The musicians of Tempesta di Mare brought the nearly 300-year-old score to life with a zest and virtuosity that transcended issues of style and instrumentation. At the close of this performance of Clori, Tirsi and Fileno, there was that sublime sensation of the suspension of time that great theater can convey. If this production by Tempesta di Mare was a way of testing the baroque operatic waters, then one can only hope that they dive all the way in for future seasons.” Philadelphia CityPaper May 26, 2005
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“Following considerable research and reconstruction, Richard Stone and Tempesta di Mare have released a remarkable and plausible rendition of how the Weiss concerti for lute and diverse instruments may have sounded. The works are vibrant, engaging and joyful in character. Stone’s lute work is of such a memorable quality, as agile and effortless as it is engaging, as enjoyable as technically superb. The playing is vital, elegant and nuanced.” La Folia: Online Music Review. July 2005.

“Right out of the starting gate, the group has delighted audiences with a bright and engaging period instrument sound. It is hard to imagine this music played any other way: the variety of color and timbral shading that the period string instruments impart makes the scores spring to life. Stone's playing is lucid, yet surprisingly robust, and pleasantly paced. Special credit is also due to concertmaster Emlyn Ngai, whose silvery, soaring tone often engages the solo instruments in spirited dialogue. It is consistenly delightful, a real find for baroque music fans, especially in these brilliant performances.” Philadelphia Music Makers, Winter 2005.

“The off-the-grid chic factor made the concert one of the season’s irresistable events. A celebratory sense of discovery. Meticulously prepared.” Philadelphia Inquirer, March 22, 2005

“Performances were technically impeccable, relaxed and confident. But those were only subsidiary factors in performances that show how this relatively short-winded music can engage ears used to being invaded by Mahler. On recorder, Roberts achieved such an ease of expression that her phasing was almost vocal in its nuance. Lutenist Richard Stone ever-so-slightly broadened the rhythm of Concerto in D major (RV 93), opening the door to a richer emotional world than what's usually found in this music. There was a near-complete merging of repertoire and performer, in an interpretive equation not unlike that of bel canto opera.” Philadelphia Inquirer, January 25, 2005

“This enterprising group of superb musicians always rewards its audiences with excellent interpretive playing.” Philadelphia Daily News, January 21, 2005

“Both Richard Stone and Gwyn Roberts, who play the central role on this disc, do an excellent job; and so do their colleagues. One of the highlights is the Concerto in d minor, which is played with verve and passion. The first movement (largo) is very expressive. The allegro which follows it is brisk and sprightly, played with a very differentiated articulation and a nice forward drive from the cello.” MusicWeb International, January 2005

“This recording is a magnificent achievement. Stone has lots of technique and shines in the soloist's role. The players tuck into it with gusto and panache, the buzzy string sound and the woody tone of the baroque flute recorded in a spacious and expressive acoustic. Anyone with an interest in the baroque should find this recording most agreeable: players interested in broadening their understanding of Weiss should consider it obligatory listening.” Classical Guitar Magazine (UK), December 2004.

“Stone's playing is agile and confident, his sound round and full. The players of Tempesta di mare supply a lovely, understated accompaniment that is historically informed but without any ornamental gimmickry. The balance between soloist and orchestra is realistic: the lute is entirely audible but not unnaturally boosted in the mix.” American Record Guide, November/December 2004

“A feast for the ears. Tempesta di Mare delivered a colorful all-Vivaldi program. Highlights included Richard Stone's elegant ornamentation in the D major Lute Concerto and Gwyn Roberts' rapt phrasing on the recorder in the aria-like third movement of the A minor Trio, RV 86. The whole concert effectively celebrated the remarkable variety and spirit in Vivaldi's writing.” The Baltimore Sun, November 16, 2004

“They not only convince, they delight.” International Record Review (UK), November 2004

“The flautist Gwyn Roberts deserves a special mention, as does Stone himself.” Gramophone, November 2004

“I cannot imagine ever hearing these wonderful concertos and duets performed better than they are here. All involved possess an exceptional sense of vitality and elegance, and they submit these world-premiere recordings with an unerring combination of unforced grace and soft-grained beauty. This debut by Tempesta di Mare leaves me wanting more.” Fanfare, September 2004

“Serious competition for Vivaldi's Lute Concerto. The lute-flute duets are a rapturous combination of sounds.'” Classic FM Magazine (UK), September 2004

“Performed with style and panache. Congratulations to all concerned” Early Music Today (UK), August/September 2004

“Tempesta di Mare has crowned its second local season with a just-released recording on the prestigious, England-based Chandos label. Its concerts have been among the season's best. You can imagine a wide range of listeners happy to have this disc, especially since the musicians are in such sympathy with the music. Baroque specialists have a new composer personality to ponder, and casual listeners couldn't ask for a lovelier succession of sounds.” Philadelphia Inquirer, July 4, 2004

“The group breathed vibrant life into each piece. Each player was a master. Roberts played the recorder with breathtaking fluency and spirit – she is without doubt the best I have heard on this instrument. Stone is a virtuoso on the lute as well. The two played with absolute clarity and passion. Ngai's shapely phrases contrasted nicely with the crisp recorder passages.” The Reading Eagle (Reading, PA), May 16, 2004

“Superb playing and free admission - that's been a winning formula so far for the Baroque group Tempesta di Mare. These musicians play out of love, and audiences respond in kind.” Philadelphia Daily News, January 22, 2004

“A stunning concert. Extremely accomplished. Powerfully done.” Gay City News (NYC), October 16, 2003

“A major addition to the local musical landscape, Tempesta di Mare takes its inspiration from the power of the sung word. Saturday’s concert showed how effectively they can speak to a modern sensibility. Such smart programming tells you that the minds behind Tempesta di Mare are originals” The Philadelphia Inquirer, October 6, 2003

“Tempesta di Mare gives concerts of grand quality.” Opéramag (France), September-October 2003

“Sizzling Baroque Music” Philadelphia Daily News, September 10, 2003

“Scintillating results. The orchestra concluded its first full season in Philadelphia with contagious conviction. A significant addition to the local scene. This performance revealed the music with great specificity: there wasn't the tiniest question what the composer was up to in any given phrase.” The Philadelphia Inquirer, April 8, 2003

“Distinctive profile. Great nuance, rhythmic vigor and grasp of color. The soloists found theatrical roles and made sparks fly.” The Philadelphia Inquirer, October 6, 2002

“Tempesta di Mare spoke the music like a native language. The ensemble was always rhythmically tight but never wooden, and their variety of expression was perhaps their greatest asset. Lutenist Richard Stone's playing was most impressive. There was not a note out of place, and his almost vocal tone was clear and vibrant. Flutist and co-director Gwyn Roberts’ playing was highly expressive and sang with exceptional rhetorical grace.” American Journal of Classical Guitar, March 12, 2001

“The listener was rewarded by an experience of intimate dialogues of flute, viola da gamba and lute. Four Stars.” Lidové Noviny (Prague), June 2000

“World-class virtuosity. With fleet fingers and sweet tone, Gwyn Roberts tears into these demanding works with nothing less than breathtaking results. Tempesta di Mare offers superb support.” American Record Guide, October 1997

“Recorder soloist Gwyn Roberts obviously enjoys the unexpected and takes illuminating risks. She loves to stretch pauses to their limits, and to surprise the listener with thrilling returns. Her individual interpretations make compulsive listening. Tempesta di Mare is constantly excellent. Five Stars.” BBC Music Magazine, August, 1997