As Soloist in Bach's St. John Passion:
with Musica Angelica

"Ian Howell's countertenor was agile and sweet in timbre."

Richard S. Ginell - Los Angeles Times - Mar 28, 2010

Händel's Messiah:
Händel Choir of Baltimore

"Countertenor Ian Howell's remarkably ripe sound and powerfully communicative approach hit the spot."

Baltimore Sun - Dec 12, 2009

"Providing vivid interpretations of the oratorio's recitatives and airs, Katharine Dain (soprano), Ian Howell (countertenor), Steven Brennfleck (tenor), and Craig Phillips (bass) served the oratorio as vibrant soloists. Ms. Dain and Mr. Howell often thrilled by their rippling variations on the Händel score."

Baltimore Theatre Journal - Dec 12, 2009

Händel's Inheritance:
Tableau Baroque

"In the second act, "Hamburg, 1704-1706," sections of Reinhard Keiser's opera, Claudius were interpolated with the Sarabande from Händel's Almira, and the aria, Lascia ch'io piango from his opera Rinaldo, and Ian Howell's beautiful singing of the vocal selections probably left few dry eyes in the audience.

"The final act of the evening, "Italy and Hanover, 1706-1711," consisted largely of the cantata, La Seneca, by the ill- fated womanizer Alessandro Stradella, who was killed after being caught in a compromising situation with a married woman. Scored for countertenor and continuo, the cantata tells of the final moments of the Stoic Roman philosopher Lucius Seneca, who was ordered by Nero to kill himself for his lack of loyalty to the notorious Emperor. The recitative and arioso style writing is deeply moving in both music and prose. It was sung by Ian Howell with power and expressive emotion, the singer projecting his voice strongly while keeping his tone under admirable control."

southfloridaclassicalreview.com - July 23, 2009

"The Hamburg years also saw the first use of a melody Händel would later recycle for his 1711 opera Rinaldo, that of the justly celebrated Lascia ch'io pianga (Leave me to weep), which was sung here with radiant tenderness and persuasive dramaturgy by Howell. He has a lovely singing voice, of a light, supple cast, and his ornamentations on the second time through of the aria were modest, tasteful and effective.

"The concert's third and final section, detailing Händel's years in Italy and Hanover, featured a cantata by Alessandro Stradella, probably the best-known of the other composers on the program. La Seneca, a solo vocal work about the suicide of Seneca mandated by the Emperor Nero, was a good example of the variety that a skillful composer can bring to recitative. It's an effective piece, though it's hard to appreciate nowadays, given that music like this is generally heard as warmup to arias. Still, Howell was impressive here, tackling a long, demanding text and making the most of it, adding touches such as wiping his forehead on the words With dry brow and without weeping.

"Three other works by Händel filled out the section and closed the concert: Quel fior che all'alba ride, a work from around 1741 which the composer recycled for the choruses And he shall purify and His yoke is easy in Messiah, composed that same year. But the original cantata is a beautiful work on its own, demonstrating Händel's great melodic power and the innate theatricality of his music. Howell sang it with elegance and grace to expert accompaniment by the rest of Tableau Baroque, and closed the concert with two more Händel selections, two arias from his rarely heard collection of German-language songs, dating from the 1720s. Flammende Rose (Flaming Rose), a confident, upbeat aria, showcased Howell's fine breath control as he navigated the long lines Händel wrote for the solo singer.

"The encore, the aria Süße Stille, sanfte Quelle (Sweet silence, soft source [of tranquility]), a gorgeous song in which the comfort of the grave as a release from life's woundings is extolled, received the same kind of reading all the works on this program did: Masterfully played and sung, beautifully realized."

Miami Herald - July 25, 2009

Bach B-Minor Mass:
Bach Festival of Philadelphia

"I must be honest and report that the other soprano soloist Laura Heimes and countertenor Ian Howell stole the show. Heimes's intense, focused lyric soprano voice reminds me of one of the musical heroines of my youth, the formidably intelligent Phyllis Curtin. And I urge you to follow the link to Howell's website and listen to what you will find there.

"As breathtaking as his voice is in that example, Howell's stage presence is overpowering in a way that eludes description- although I'll try anyway. Imagine a gun-slinger coming into an Old West saloon and looking you directly in the eyes- but imagine that he's being played by Johnny Depp, with just the hint of a smile and a look that penetrates to your very soul. That's something like what comes to my mind when I call up the image of Howell in the moments before his solos. And he backs it up with his singing.

"As Howell started his final "Agnus Dei" solo, it struck me that he and Heimes were the individual personifications of this concert's greatest virtues."

www.broadstreetreview.com - May 9, 2009

"The quintet featured two star sopranos, Julianne Baird and Laura Heimes, but the most striking voice belonged to countertenor Ian Howell. Howell is a true male alto, with the range and color of a female alto and the extra fullness produced by the male chest cavity- a combination that entranced Baroque aficionados."

www.broadstreetreview.com - May 9, 2009

"Countertenor Ian Howell is excellent now, but his implied future possibilities are even better."

Philadelphia Inquirer - May 9th 2009

Bernstein Chichester Psalms:
Vancouver Chamber Choir

"The second movement based on David's Psalm 23, "The Lord is my Shepherd", was sung with lyricism and fluidity by countertenor Ian Howell."

www.reviewvancouver.com - Apr 10, 2009

Pergolesi Stabat Mater:
American Bach Soloists with Mary Wilson, Soprano

"There are moments when a musical performance is so carefully conceived or so sublimely delivered that all you can do is surrender to the beauty of it and express gratitude for being alive. Such was the case Saturday at Berkeley's First Congregational Church, when those privileged to attend the second of four Bay Area concerts by Jeffrey Thomas' American Bach Soloists were treated to a host of wondrous moments.

"...[Wilson and Howell's] coloratura in "Fac, ut ardeat cor meum" (Make me feel as thou has felt) was perfectly executed, and the blend in the closing "Quando corpus morietur" (While my body here decays) and the Amen was impeccable. As showy as the work may be, the singers' identification with the sorrowful text remained supreme. By the time Thomas, directing from the organ, paused after the fourth duet to allow his five string players to retune, a woman seated in the row in front of me could not refrain from sighing the word "beautiful" as she finally let herself breathe.

"The five solos were just as wonderful, with flawless trills and spot-on intonation. Thanks to Howell's emotional affect, the joyous incongruity of Pergolesi's "Quae moerebat et dolebat" (Christ above in torment hangs) was rendered inconsequential. The countertenor especially stood out in "Fac ut portem Christi mortem" (meaning "Let me to my latest breath," at least according to one translator), where the heart at the core of his soulful sound predominated."

San Francisco Classical Voice - Apr 2009

"Wilson and Howell, singing soprano and alto parts, were perfectly matched, the arias soaring, and were among the finest singers this reviewer has heard... Some arias were piercingly sad, the slow melodies intertwining, and others included elaborate coloratura passages which the singers negotiated with the great ease... Howell, First Prize winner in 2006 American Bach Soloists' International Solo Competition, has a clear countertenor and harmonized exquisitely with Wilson's soprano at every turn of phrase, including impressive high notes. At other times he descended effortlessly into the low alto range."

www.classicalsonoma.org - Apr 2009

Händel's Inheritance:
Tableau Baroque

"Howell's rendition of Johann Philipp Krieger's strophic song "An die Einsamkeit," our first hearing of the countertenor voice, was lovely, supple, and crystal clear."

Classical Voice of North Carolina - Feb 2009

Bach, Händel, Scarlatti: Solo vocal works
American Bach Soloists

"Howell possesses a light instrument, yet it has resonance in the upper register and is well-tuned, with a lovely, mellow, almost meditative quality. He is smooth and even throughout his registers, and musical in his phrasing, showing an affinity for legato and emotions of the plaintive and gentle variety. He never oversings or forces... Technically, he was flawless, as several perfectly executed trills showed.... He sang passionately in "Cara sposa," from Rinaldo... The encore, "Ombra mai fu" from Serse, was marvelous - spacious, and lovingly phrased... Ian Howell is moving up in the ranks, and certainly his artistry demands further hearings."

San Francisco Classical Voice - Apr 2008

Händel Messiah (Alto solo):
Musica Sacra

"Ian Howell, the countertenor (filling in for David Walker, who was ill), has a lovely sound that grew in strength and confidence through the evening."

The New York Times - Dec 27, 2007

Händel Belshazzar (Daniel):
Sacred Music in a Sacred Space

"The young countertenor Ian Howell sang with a clear voice and attractive timbre as Daniel, a Jewish prophet..."

The New York Times - Oct 27, 2007

Händel Hercules (Lichas):
Princeton University

"Mr. Howell sang with clarity and strength that carried to the back of the hall and a free and open sound which could have gone on forever. [He is]...clearly looking at a great future on the concert stage."

Town Topics - May 2, 2007

Bach Vergnügte Ruh:
American Bach Soloists

"The judges seemed to have been bowled over by Howell's polished sound, clear resonance, and powerful enunciation..."

San Francisco Classical Voice - June 2006

Monteverdi Vespers 1610:
Seraphic Fire

"... The agile, other worldly timbre of countertenor Ian Howell turned vocal cameos into star turns."

Miami Herald - Oct 12, 2005