GRAMOPHONE MAGAZINE
Fallon…brings the songs into the present with performances whose emotional immediacy seem suited to inner lives of the 21st century, sometimes suggesting a fevered heart (yes, we still have those) whispering to itself.
DER STANDARD
A voice like a laser.
Take Timothy Fallon's Prince Ramiro. If God existed and had a voice, he would sing just like that: like a focused beam of light, with quicksilver-like agility, self-confident, powerful and nuanced at the same time. And this genius is even part of the ensemble!
GramophoNe Magazine
His voice is exceptional, darkish in tone, evenly produced, capable of both ringing high notes and a superbly controlled mezza voce. It enables him to encompass both a big statement of desire at the centre of ‘Benedetto sia ’l giorno’ and the rapt sense of mystic contemplation which is the cycle’s eventual goal.
LIMELIGHT MAGAZINE
Fine diction and a lovely clear higher register even across all the dynamics, from a lovely sotto voce to full-blooded fortissimos, are qualities he brings to this BIS recording of 15 songs by Franz Liszt. His expressive voice is nimble and nuanced and he pays great attention to the text, teasing out the subtle colours and shades while Bushakevitz’s sensitive piano keeps momentum going.
NEW YORK TIMES
The tenor Timothy Fallon opened with carefully nuanced renditions of four Strauss songs that revealed his elegant sense of phrasing and luminous tone. “Three Browning Songs,” by the American composer Amy Beach, further showed off his sure-handed control of timbre, from velvety pianissimos to bright, confident top notes.