"... wonderful reinventions of Bach and of European music of the 18th century ... superlatives ..."
(Cd Originals and transcriptions)
João Marcos Coelho, august 2017, O Estado de S. Paulo
«... Chamber music of the highest level ...» (Cd Originals and transcriptions)
«... it is difficult to imagine that another version [of Corelli's Apotheosis] is possible or desirable ...»
Irineu Franco Perpétuo, Tutti Classics, 2017
"... the interpretation of Tavares and Fagerlande would already be enough to make the record fundamental ..."
(Cd Originals and Transcriptions)
Revista Concerto , 2017
«... admirable CD ...» (Cd Originals and transcriptions)
«... great performances by these two great Brazilian musicians ...»
João Marcos Coelho, Radio Cultura, 2017
"... a landmark of Brazilian discography dedicated to the instrument ..."
(The Art of Fugue)
Revista Concerto, June, 2017
"Baroque cantatas directed by harpsichordist Marcelo Fagerlande flood Cecilia Meireles Hall of enchantment"
(The Four Seasons, by Boismortier)
Fabiano Gonçalves, Movimento.com, March 2015
"One of the most prominent Brazilian harpsichordists of his generation"
Revista Concerto, October 2011
“...an exquisite recording...” (The Art of Fugue)
Clovis Marques, Opinião e Notícia, november 2010
“A good version of The Art of the Fugue for two harpsichords. Marcelo Fagerlande and Ana Cecília Tavares… skillfully work on these constructs. They view each of the 20 episodes in an isolated manner, with a unique internal logic; and at the same time they establish a wider interpretative arch.”
João Luiz Sampaio, O Estado de S. Paulo, March 2010
“Ana Cecília Tavares and Marcelo Fagerlande tackle at a high level the risk of giving musical life to these perfect structures for two harpsichords…”
assessment: great
Sergio Molina, guia da Folha, March 2010
“... Fagerlande and Ana Cecília’s version will please great many. It has aesthetic coherence, a beautiful sound, … fluency, and transparency…”
Eduardo Fradkin, O Globo, March 2010
“... excellent interpretation of the Art of the Fugue cycle…”
“… perfect synergism…”
“… full grasp on the styles evoked by Bach,… masterful without excess,… striking solos…”
assessment: great
Sidney Molina, Folha de São Paulo, March 2010
“... The Art of the Fugue … gains new perspective with the two harpsichords played by Ana Cecília and Fagerlande… a vivacity rarely found in executions in other keyboards...”
Nahima Maciel, Correio Braziliense, March 2010
“... impeccable quality marked the opera’s opening night…” (Dido and Aeneas)
Diana Moura, Jornal do Commercio, Recife, November 2009
“... one of the finest Brazilian experts in music prior to Classicism…”
Clovis Marques, Revista Concerto, September 2007
“... the orchestra directed by Marcelo Fagerlande […] is one of the highlights of the show…” (L’Orfeo)
Luiz Paulo Horta, O Globo, September 2007
“...the two musicians reached great success in the combination of sounds and styles in a surprisingly pleasant way...”
(Bach & Pixinguinha)
Infos Brésil, França, November 2005 / January 2006.
“...Marcelo Fagerlande showed his gift as a great musician, causing the emotions of those who listened to vibrate...”
La jornada Michoacan, Morelia, Mexico, November 2005.
“...a successful combination...’ (Bach & Pixinguinha)”
Cambio de Michoacan, Morelia, Mexico, November 2005.
“...the magic of the music created by Mario Sève and Marcelo Fagerlande brought about a generous round of applause from the audience...”
Artes y vida, Morelia, Mexico, November 2005.
“...Fuss and Fagerlande demonstrated from the start a very good technical and interpretative level...”
Eduardo Roland, El País, Uruguai, September 2003
“...irreprehensible musical direction by Marcelo Fagerlande...” (O Último Dia)
Lionel Fischer, Tribuna da Imprensa, August 2003
“...an event that is more than recommendable...
excellent musical direction by Marcelo Fagerlande...” (O Último Dia)
Tania Brandão, Jornal do Commercio, August 2003
“...Fagerlande’s harpsichord is the spectacle’s star...” (O Último Dia)
Bárbara Heliodora, O Globo, August 2003
“...Barroco! is perfect in every detail ...”
“...it is ironical, extravagant and made in very good taste...”
Nahima Maciel, Correio Braziliense, March 2003
“...a spectacle conceived with intelligence and made with very good taste...”
...the production expresses with special beauty the different human emotions...”
Lauro Machado Coelho, O Estado de São Paulo, February 2002.
“...extravagance and fantasy [...] sophisticated, but without being presumptuous...” (Barroco!)
Arthur Nestrovski, Folha de São Paulo, January 2002
“...Fagerlande presented, with the Sontatas by Bachixa and Seixas, in an unpretentious yet virtuoso performance, true preciosities...”
Badische Neuste Nachrichten, Germany, 21.06.2000
“...The Concerto Op. 3 for the Harpsichord, by Bach was played with admirable perfection by Fagerlande...”
Schwäbische Post, Germany, 2000
“...Fagerlande demonstrated that he is a stylistically solid interpreter and an excellent harpsichord player...”
Südwestpresse, Alb Bote, Germany, 2000
“...Fagerlande was brilliant with splendid ability in his fingers, technical refinement and convincing expression...”
Aalener Nachrichten, Germany, 2000
“ ...one of the greatest artistic pleasures...”
Aalener Nachrichten, Germany, 1999
“ Marcelo Fagerlande determined the crowning of his dedication to the early sonority with this Orpheus...superlatively worthy of praise...”
Carlos Dantas, Tribuna da Imprensa, 1998
“... the beginning of the opera in a first world spectacle...” (Orpheus)
“...a beautiful, even surprising version…the exuberant fascination of the scenic production added to the consistency of the musical texture...”
Luiz Paulo Horta, O Globo, August 1998
“ ...one of the leading brazilian harpsichordists... ”
Early Music America, 1977
“...one of the most brilliant instrumentalists of historical music active in Brazil...”
Luís Antonio Giron, Gazeta Mercantil, 1996
“...virtuosity following the steps of Kirkpatrick...it can be said, without fear of error, that is was the best presentation from this first series at the Villa (Maurina)...”
Victor Giudice, Jornal do Brasil, 1996
“...this album from Brazilian studios caused a very good impression...
...his performances are technically impeccable and alive, and sensitive to character of the compositions...”
Oscar Ledesma, Revista Musica & CD, Buenos Aires, Argentina, 1995
“...a harpsichord player that is simultaneously sophisticated and natural... A former student of the great harpsichord player Kenneth Gilbert, Fagerlande does not seem to have much more to learn from anyone: such a musician learns with himself, for the benefit and pleasure of all of us.”
Arthur Nestrovsky, Folha de São Paulo, 1994
“...one of the most lucid cultivators of early music in the country, which he performs with intelligence and beautiful sound...”
Veja, 1994
“...Fagerlande left excellent impressions...”
“...also (in the sonatas by Scarlatti) he was convincing for his highly musical art of performance...”
Ludwigsburger Zeitung, Germany, 1983
