Die Winterreise, Recital Melba Hall, Melbourne 2007


"it was in the ultimate heroic tone of defiance and ironic acquiescence that Davislim came into his own. This in an actor singer of thrilling intensity and musical beauty. The sensitive accompaniment of Anthony Romaniuk didn't steal his thunder."

John Slavin (The Age)

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‘Turbulent Heart’ / Melba Recordings
Queensland Orchestra / Guillaume Tourniaire
Chausson “Poème de l’amour et de la mer”


Opéra (France)

**Le Diamant d'Opéra** (Special Commendation)

A most unexpected lesson from the Antipodes.

Gérard Condé

"as powerfully sure in the lower notes and as he is shining in the highest...add to this exemplary French diction and phrasing, an expressive use of rubato, a warm tone colour, a natural musicality; one finds oneself running out of superlatives."


Audiophile Audition (US)

Steven Ritter

Davislim’s voice soars with all of the passion inherent in Chausson’s exquisitely rendered score...I loved it (the disc), with thanks to Davislim’s great interpretative nuances and the superb playing of the Queensland Orchestra.

This disc is a must have from this year’s crop.


Classic FM Magazine (UK) (February 2010)

"Davislim sings with power, nobility and heart-rending emotion.”


Vierne: “Les Djinns”, “Eros”, “Ballade du Désespérés”, “Psyché”

“Certainly Australian tenor Steve Davislim is every bit as impressive here as in the Vierne— and this is highly distinguished singing by any reckoning —while the Queensland Orchestra, on absolutely cracking form, clearly relish the opulence of Chausson’s orchestral textures… On every count, this is a magnificent release.”
Gramophone (December 2009) / Marc Rochester



“The tenor Steve Davislim lends his luminous voice, his perfect diction and welcome dramatic sense to these works in an approach heightened by the inspired conducting of Guillaume Tourniaire. The latter is a miraculous accompanist, supporting the voice with ideal precision. In short, this is an indispensable disc of French vocal music presented in a faultless SACD recording.”
Jean-Jacques Millo OPUS HAUTE DÉFINITION (France)


Classic FM Magazine (UK)

‘Editor’s Choice’

Emma Baker

Stirring the soul – Tenor Steve Davislim brings a wonderful array of colours to the storm-tossed music of Vierne and Chausson

***** 5 stars


“Davislim sings with power, nobility and heart-rending emotion, borne along by the impassioned playing of The Queensland Orchestra…”
Classic FM (February 2010) – Editor’s choice



“…this could well be the discovery of 2009, featuring thrilling first performances of orchestral songs that churn and boil with drama and emotion…Inspired performances all round, then, in textbook perfect sound and lavish packaging, Turbulent Heart boasts three fast-rising young names to look out for in the years ahead: Davislim, Tourniaire and the enterprising Australian label, Melba Recordings.”
Michael Quinn BBC MUSIC.CO.UK


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Tchaikovsky: Eugene Onegin, Hamburg Staatsoper, April 2007


”Die schönste Leistung des Abends kam von Steve Davislim, der als Lenski genau die richtige Mischung aus poetischer Schwärmerei und Melancholie besass, und dazu noch einen ganz locker und höchst musikalisch geführten, bis in die sichere Höhe angenehm timbrierten Tenor sein eigen nannte.”
Orpheus, July/August 2007, Hartmut Kühnel

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Zemlinsky: Der Traumgörge, Deutsche Oper Berlin, May 2007


Zwei junge, hingebungsvoll singende Künstler sind ein wahrer Glücksfall für den überwiegend freundlich aufgenommenen Abend. Steve Davislim verleiht mit seinem schönen lyrischen Tenor dem Görge eine angenehme askutische Präsenz und steht die umfangreiche und anspruchsvolle Partie auf bewundernswerte Weise durch und ist eine wirklche Entdeckung.”
Orpheus, July/August 2007, Ingrid Wanja



“Ein klangschön intonierender Görge ist Steve Davislim.”
NZZ, 6 June 2007, Georg-Friedrich Kühn



“... allen voran glänzte Steve Davislim in der Titelpartie mit lyrischem Tenor.”
Der neue Merker, June 2007, K.W.H.



“Herausragend singt Steve Davislim als Görge ...”
Financial Times Deutschland, Joachim Lange



“Steve Davislim manages to bring charisma and intelligence to the murderously difficult role, singing with lyrical refinement and courage.”
Financial Times, Shirley Apthrop, 5 June 2007



“Doch Steve Davislim macht die Blässe der Titelfigur musikalisch wett, auch wenn er akustisch oft unvorteilhaft platziert ist. Lyrisch geschmeidig, hat sein Tenor zuglich baritonale Kraft, die vor allem im zweiten Akt gebraucht wird. Standhaft meistert Davislim diese mörderische Partie, wobei ihm der vorsichtig balancierende Jacques Lacombe im Graben virtuos über die Runden hilft.”
Opernwelt, June 2007,Olaf Wilhelmer



“Steve Davislim singt mit schlanker Stimme anrührend von diesem Sich-Gesund-Träumen.”
Berliner Zeitung, 29  May 2007, Wolfgang Fuhrmann


“Steve Davislim in der Titelpartie singt schön, stimmig, schlüssig, mit warmen Timbre, fabelhafter Textverständlichkeit.”
ND, Rober Becker, 30 May 2007



“Steve Davislim wirft sich mit ganzer Kraft in die mörderische Tenorpartie des Görge.”
Neues Deutschland, Roberto Becker, 30 May 2007



Mozart: Die Zauberflöte / Tamino, Teatro San Carlo
... Steve Davislim was fully at ease with the role of Tamino, displaying smooth singing and refined acting ...”
Opera, Enrico Tellini, March 2007



Haydn:
Die Schöpfung, Haydn tage Eisenstadt, Adam Fischer, September 2006
Steve Davislim mit hellem und höhensicherem Tenor ...”
Kurier, Helmut Christian Mayer, 9 September 2006



“Steve Davislim mit warm timbriertem Tenor ...”
Die Presse, Gerhard Kramer, 12 September 2006



“Steve Davislim bringt einen angenehm timbrierten Tenor und eine genau konturierte Interpretation ein ...”
Krone, Oliver A. Láng, 10 September 2006



Handel:
Ariodante / Lurcanio, Barcelona, May 2006
Als Ariodantes Bruder Lurcanio bot Steve Davislim eine rundum überzeugende Leistung; der lyrische Tenor ist von reicher Substanz und sehr empfindsamem Klang, wovon besonders seine Arie “Del mio sol vezzosi rai” profitierte.”
Orpheus, July 2006

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Don Ottavio, Teatro San Carlo Napoli (Naples), April 2006


Aussergewöhnlich gut auch Steve Davislim als eminent koloratursicherer, männlich und edel timbrierter und elegant singender Don Ottavio.”
Orpheus, Rolf Fath, July 2006

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Martin: Le vin herbé, Berlin, RIAS Kammerchor mit Daniel Reuss, 22 February 2006


Der grandiose Tenor Steve Davislim gibt dem traurigen Helden ohne alle Tenormätzchen und -manierismen tief berührende Konturen.
Der Tagesspiegel-Online, 24 February 2006, Uwe Friedrich

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Idomeneo, La Scala, 7 December 2005


“Steve Davislim headed a cast of uniformly excellent voices ... but it was Davislim’s ravaged ruler who most commanded attention. The role demands lyricism, pyrotechnic agility and profound dramatic weight. Davislim combined all these qualities with dramatic charisma and exceptional musical intelligence. Each note had weight and meaning, each phrase direction. He made the ill-fated monarch’s inner struggles utterly real and moved around La Scala’s broad stage with leonine grace.”
The Weekend Australian, 9 December 2005, Shirley Apthorp


 
“Steve Davislim sang a beautifully poised and cleanly tuned Idomeneo, unfazed by the challenge of “Fuor del mar”.”
Telegraph, 10 December 2006, Rupert Christiansen

“In the title role, Australian tenor Steve Davislim made a strong impression, combining a burnished lower-middle register with an easy head-voice, fluent coloratura, solid legato and persuasive diction.”
Opera News, Stephen Hastings, March 2006

“Steve Davislim had stage presence, balmy timbre and strong coloratura.”
FT. com, 10 December 2005, Andrew Clark

“The singers also earned praise, including Australian tenor Steve Davislim, Idomeneo.”
SFGate, 7 December 2005, Antonio Calanni

“Steve Davislim impressed as Idomeneo.”
Guardian, 9 Dezember 2005, Martin Kettle

“In der Titelrolle bestach Steve Davislim, dessen Idomeneo alle Facetten des leidgeprüften Vaters zeigte, der sich am Schluss in Würde zurückzog. Nach der verständlichen Premièren Nervosität kamen bei dieser 4. Vorstellung auch die gefürchteten Koloraturen von “Fuor del mar” mit grosser Sauberkeit.”
Der neue Merker, January 2006, Eva Pleus

“Alle tragenden Figuren sind mit jungen Kräften besetzt, ...und Steve Davislim in der Titelrolle brauchen einen Vergleich mit grossem Namen nicht zu scheuen.”
Salzburger Nachrichten, 9 December 2005, Derek Weber

“Die Sänger, nicht durchweg mit grossen Stimmen, dafür aber stilsicher und stilrichtig, fügten sich in dieses Konzept: .. Steve Davislims jugendlicher Tenor, Idomeneo.”
Opernwelt, February 2006, Dietmar Polacek

“Steve Davislim singt den Idomeneo ohne spektakuläres Gehabe, virtuos in der Bravourarie des zweiten Aktes und innig in den Peripetien des dritten Aktes.”
NZZ, 9 December 2005, Peter Hagmann

“Nel cast vocale, quasi tutto di debuttanti alla Scala, è una bella sorpresa il giovane tenore Steve Davislim nel ruolo del protagonista. Idomeneo autorevole, di bel timbro e fraseggio elegante, capace di chiaroscuri efficaci nell’aria “Vedrommi intorno l’ombra dolente” e tecnicamente ferrato nelle colorature di “Fuor del mar”.”
Il messaggero, 8 December 2005, Alfredo Gasponi

“Steve Davislim, vestito con la cerata della Tempesta perfetta , ha voce morbida e calda, un bel legato e sfumatura, una vocalizzazione niente male.”
Il Giornale. 8 December 2005, Sabrina Cottone


Steve Davislim, australiano mistosangue irlandese-malese è un Idomeneo dal timbro scuro, espressivo e dalla presa scenica.”
Corriere de l Ticino, 9 December 2005, Elsa Airoldi

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Beethoven, Christus am Ölberge, Op. 85.

“To the role of Jesus, Steve

Davislim brings both beauty of voice and mellifluous utterance even in

the highest register.”

Stephen Pruslin © International Record Review 2001


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“If I had to pick one performance from this Mozart Year to cherish, it would be that of Australian tenor Steve Davislim as Idomeneo at Milan’s Teatro alla Scala.

After conquering the superhuman demands of the coloratura aria Fuor del mar, Davislim sang the tortured father-king’s prayer ‘Accogli, oh re del mar’ so heavenly, it reminded me of an incident several years ago … at the end of George Balanchine’s Concerto Barocco at New York City Ballet, the little old lady sitting in front of me turned around, caught my eye and said, ‘It’s almost enough to make you believe in God.”


St. Petersburg Times, Larry L. Lash, 22 October 2006

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