Kuijken was born in Dilbeek, near Brussels. He was a member of the Alarius Ensemble of Brussels between 1964 and 1972 and formed La Petite Bande in 1972. Since 1971 he has taught Baroque violin at the Royal Conservatory of The Hague and the Koninklijk Muziekconservatorium in Brussels. He is noted for using the older technique of resting the violin on the shoulder without a shoulder rest, rather than held under the chin. He is a member of the Kuijken String Quartet, which he formed in 1986. In recent years, he has also performed as conductor of symphonies of the Romantic era…wiki
Anna Moffo was one of the leading sopranos at the Metropolitan Opera in New York throughout the 1960s and early 1970s. To many opera-lovers in the USA, she was quite simply the most beautiful diva of her era. She was certainly one of the most talented, possessing an appealing stage presence, a lyric soprano voice of full, ratdiant tone and an impeccable coloratura technique, which she used with excellent musical taste.
Michael Maniaci is a male soprano, which is a voice category unfamiliar to many lovers of classical vocal music. Unlike a countertenor, his voice sits naturally in the soprano register. His voice is really all about the fact that his vocal chords experienced fewer changes than what most young men experience when going through puberty. There are very few male sopranos, and Mr. Manicaci is without question the best male soprano in our midst. Thus we have here a singer who perhaps comes closer to giving us at least some idea of what the famous castrati sounded like more than anyone else today. He can sing high C's with ease and the voice here displays great agility and brio. I've listened to this album multiple times, and the more I hear it the more amazing I find it. The first time I heard it I was impressed with this his obvious joy, passion, and real sense of theater. This young male soprano's voice is gorgeous, but Michael Maniaci also understands that there is theater in this music and we can *hear* that in his singing..
"If anyone has recorded a lovelier Mozart recital in recent years, I've yet to hear it. In her early thirties, Kozená is now consummate mistress of her art. Her liquid high mezzo, with its easy upward extension, combines warmth with the bloom and freshness of youth, while her coloratura, on display in 'Al desio di chi t'adora' . . . is as brilliant and expressive as Bartoli's, yet without the Italian diva's intrusive aspirates . . . Fortepianist Jos van Immerseel is an equally sympathetic partner in an impassioned yet intimate performance . . ." ~Gramophone