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Joel Frederiksen, Artistic Director
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Concert Reviews:

Vielstimmige Renaissance (Munich 1523 - Ludwig Senfl under Wilhelm IV.)

Klaus Kalchschmid writes about the Concert Series "Zwischen Mars und Venus X, 2016-2017" at the Bavarian National Museum and about the first concert "Munich 1523 - Ludwig Senfl under Wilhelm IV."       

SÜDDEUTSCHE ZEITUNG, Klaus Kalchschmid
17. 10. 2016

Eine Offenbarung! (Requiem for a Pink Moon)

Rave review of Requiem for a Pink Moon in Potsdam! 


Erschienen am 17.03.2014 auf Seite 20 http://www.pnn.de/

Potsdamer Neuste Nachrichten, Dirk Becker
4. 8. 2016
See article as PDF file (122kB)

Allegorical Fights (Requiem for a Pink Moon)

Allegorical fights between earthly desires and the purity of belief contained great musical variety, especially when the two excellent singers were accompanied by instrumentalists who were just as strong.

Joel Frederiksen mastered the huge range and coloratura of the virtuosic "O vos omnes" by Giovanni Felice Sances excellently. Robert Crowe, representing the other extreme of the male voice (soprano)...in the piano sections round and expressive.

Süddeutsche Zeitung, Klaus Kalchschmid
7. 12. 2010
See article as PDF file (147kB)

Touching Singing with the Lute (Orpheus, I am)

Frederiksen is at the moment the only one that masters the art of self-accompanying to the lute at the highest level. He has at his disposal amazingly many styles and vocal registers and styles. The most impressive were the big, theatrical monodies of Giulio Caccini: easily over two and one-half octaves, virtuosically ornamented and with powerful diction...truly amazing.

Donaukurier, Jörg Handstein
5. 10. 2010
See article as PDF file (626kB)

Early Music at the Prague Spring (Rose of Sharon)

The evening was based on perfect solo performances. The crystal clear soprano of Lydia Brotherton was faultless and equally as excellent was the alto Deborah Rentz-Moore. The tenor Timothy Leigh Evans...mastered both the fast songs and the sacred and choral repertoire...but the deus ex machina of the whole project was the bass Joel Frederiksen, who prepared the dramaturgy of the program, sang and also played the guitar.

The audience was literaly thrilled and did not allow the performers leave sooner than after three encores. 

"The Rose of Sharon" at the Prague Spring International Music Festival, May 2010

Musical Magazine/Hudebni rozhledy, Lukas Vytlacil
1. 7. 2010

Old music from the New World (Rose of Sharon)

The concert at the Prague Spring International Music Festival, May 2010.

THE PRAGUE POST, Frank Kuznik
12. 5. 2010
See article as JPG file (389kB)

Wonderful Multi-Talents (Paris 1529 - Pierre Attaignant and the early French chanson)

Ensemble Phoenix makes ancient music come alive (concert 14.2. 2010 Munich, Between Mars and Venus)

Museums are places of discovery and in the Bavarian National Museum for over two years there has been a wonderful concert series founded by an American with Danish roots, Joel Frederiksen. The accomplished lutenist with a superb bass voice collects early music profis with his Ensemble Phoenix Munich and lets Renaissance and Baroque music in "Between Mars and Venus" rise again.

SÜDDEUTSCHE ZEITUNG, Klaus P. Richter
17. 2. 2010
See article as PDF file (36kB)

Amarillis, My Love

Project "Amarillis, My Love" in Stadtheater Luzern

SCHWEITZER SONNTAGSZEITUNG, Kai Luers-Kaiser
30. 11. 2008
See article as PDF file (3894kB)

Orpheus, I am/Paris (Orpheus, I am)

It was a true surprise to hear the voice of a bass in this early English repertoire! The singing was remarkably supple with excellent intonation and an astonishing discreet expressivity.

ANACLASE.COM, Bertrand Bolognesi
17. 10. 2008
See article as PDF file (115kB)

Elvis Presley mit der Laute (O felice morire)

"O felice morire", Ambrasser Schlosskonzerte in Innsbruck, Austria

KURIER
6. 7. 2008
See article as PDF file (344kB)

Love Brought Him to Munich (The Elfin Knight)

Available in German. Please see the PDF.

Munich Merkur Newspaper, Markus Thiel
19. 12. 2007
See article as PDF file (420kB)

Melancholy Lute Songs Announce Lovesickness (Orpheus, I am)

With virtuosity Frederiksen plunged from the highest high to the deepest deep and played simultaneously also brilliantly on the lute. A marvellous love-evening—although not completely, because with Batailles “Qui veut chaser une migraine” a drinking song was also performed.

The Süddeutscher Zeitung, Marco Frei
14. 6. 2005
See article as DOC file (30kB)

Star of the Year in Classical Music (The Elfin Knight)

Award from the Munich Evening News for the Classical Music Star of the Year

MUNICH EVENING NEWS
See article as JPG file (39kB)

Highlights (Requiem for a Pink Moon)

eMusic Pick / EDITOR'S PICK
“It’s tempting to skip straight to the Drake covers and marvel at how beautifully Frederiksen treats them. Drake’s mumbling delivery on record can make deciphering his obtuse lyrics a bit of a struggle, whereas Frederiksen’s crystal-clear diction is a joy. The discreet backings on lutes and theorbo are unfailingly sensitive.” – The Arts Desk

ROAD TRIP PICK: During the last few days, as I drive hills and dales of the Hudson Valley viewing the dappled sunlight and burgeoning green, I've been listening to the album ‘Requiem for a Pink Moon.’ Frederiksen and his ensemble have created an almost seamless album in which Dowland and Drake illuminate one another… I turn these quiet sounds up loud in the car, immersed in the delicacy of thoughtful, ageless songs.” - David Garland, WQXR

“I seriously doubt that I will hear another recording this year which will come close to matching the power and grace Requiem for a Pink Moon. In my opening sentence I called this a ‘nearly flawless recording.’I should remove the qualifier, for if there is such a thing as a flawless album, this Requiem is certainly it.” - SEATTLE POST INTELLIGENCER

“An idea that’s so spot-on it’s a wonder nobody thought of it before.” - NEW YORK MUSIC DAILY

"A stunning Elizabethan tribute to Nick Drake. Elizabethan meets contemporary classical? Joel Frederiksen is joined by the Ensemble Phoenix Munich to pay more than fitting tribute to the late British troubadour Nick Drake. Hearing these baroque pieces, with Gregorian texts next to ‘Road’ or ‘Which Will’ is a testament to the brilliance of Frederiksen, few true artists would have dared to take such an incredible roll of the musical dice and wind up with results that border on stunning." - CRITICAL JAZZ