“Thielemann and co give the meaning of a night to remember.One of the most outstanding elements of this recording is the cohesion between conductor and singers. In Thielemann’s hands, the focus is on sustaining and shaping long phrases, and the effect is spellbinding, almost unbearably so as we reach the opera’s final, rapturous duet… Sophie Koch is an experienced and vibrant Komponist, her steady mezzo communicating first bewilderment, then anger, and later passion. As the vivacious Zerbinetta, soprano Daniela Fally displays an almost offhand brilliance in her showpiece Grossmächtige Prinzessin but takes care to hint at her character’s weariness at life in the fast lane. As the nymphs Naiad, Dryad, and Echo, Valentina Naforni?a, Rachel Frenkel and Olga Bezsmertna sing with sparkle and precision. The rest of the cast are equally impressive.” ****½
“Thielemann and co give the meaning of a night to remember.One of the most outstanding elements of this recording is the cohesion between conductor and singers. In Thielemann’s hands, the focus is on sustaining and shaping long phrases, and the effect is spellbinding, almost unbearably so as we reach the opera’s final, rapturous duet… Sophie Koch is an experienced and vibrant Komponist, her steady mezzo communicating first bewilderment, then anger, and later passion. As the vivacious Zerbinetta, soprano Daniela Fally displays an almost offhand brilliance in her showpiece Grossmächtige Prinzessin but takes care to hint at her character’s weariness at life in the fast lane. As the nymphs Naiad, Dryad, and Echo, Valentina Naforni?a, Rachel Frenkel and Olga Bezsmertna sing with sparkle and precision. The rest of the cast are equally impressive.” ****½
Justine Nguyen – Limelightmagazine.com.au – 2 April 2021
Editor’s Choice
“Ninth time’s the charm in Bavouzet’s Haydn keyboard survey… This [Sonata No 10] is pure early Classical-period neatness, with a delightfully simple slow movement that Bavouzet imbues with an easy clarity… Bavouzet’s playing of these [Sonata No 41 in A and Sonata No 44 in F clearly gels with Haydn’s sense of style; in the incredibly short (under one minute) last movement of the A Major sonata rushes into a dizzying crescendo before Bavouzet adds an expectant moment of silence, before an amusingly pat ending… Bavouzet’s touch here gives this piece [Sonata No 53] (surely verging on warhorse territory?) a refreshing sense of light.. it’s perhaps his use of these instruments [Yamaha pianos] that generates such a clean line. Or, quite possibly, it’s simply Bavouzet’s mastery of this repertoire on display.” ****
Editor’s Choice
“Ninth time’s the charm in Bavouzet’s Haydn keyboard survey… This [Sonata No 10] is pure early Classical-period neatness, with a delightfully simple slow movement that Bavouzet imbues with an easy clarity… Bavouzet’s playing of these [Sonata No 41 in A and Sonata No 44 in F clearly gels with Haydn’s sense of style; in the incredibly short (under one minute) last movement of the A Major sonata rushes into a dizzying crescendo before Bavouzet adds an expectant moment of silence, before an amusingly pat ending… Bavouzet’s touch here gives this piece [Sonata No 53] (surely verging on warhorse territory?) a refreshing sense of light.. it’s perhaps his use of these instruments [Yamaha pianos] that generates such a clean line. Or, quite possibly, it’s simply Bavouzet’s mastery of this repertoire on display.” ****
Paul Balham-Cross – Limelightmagazine.com.au – 27 March 2021
Editor’s Choice
“… This Pentatone release is a worthy account of Puccini’s masterpiece, conducted by Lawrence Foster and featuring a solid cast of ascendent singers. As Puccini’s titular heroine, American soprano Melody Moore proves she’s one of those vanishingly few singers of real charisma. Her increasingly mega-watt instrument emphasises the character’s warmth and humanity, and she convincingly captures Minnie as both intrepid frontierswoman and young woman on the brink of first love… All in all, this is an admirable recording worth checking out, especially for Moore’s performance and the subtleties of the overall cast.” ****
Editor’s Choice
“… This Pentatone release is a worthy account of Puccini’s masterpiece, conducted by Lawrence Foster and featuring a solid cast of ascendent singers. As Puccini’s titular heroine, American soprano Melody Moore proves she’s one of those vanishingly few singers of real charisma. Her increasingly mega-watt instrument emphasises the character’s warmth and humanity, and she convincingly captures Minnie as both intrepid frontierswoman and young woman on the brink of first love… All in all, this is an admirable recording worth checking out, especially for Moore’s performance and the subtleties of the overall cast.” ****
Justine Nguyen – Limelightmagazine.com.lu – 29 March 2021
Editor’s Choice
“Janácek’s signature piano pieces benefit from Vogt’s acutely nuanced playing.” ****
Editor’s Choice
“Janácek’s signature piano pieces benefit from Vogt’s acutely nuanced playing.” ****
Michael Quinn – Limelightmagazine.com.au – 31 March 2021
Editor’s Choice
“Vänskä's revelatory account lends unique conviction to Mahler’s final thoughts.” *****
Editor’s Choice
“Vänskä's revelatory account lends unique conviction to Mahler’s final thoughts.” *****
Clive Paget – Limelightmagazine.com – 3 April 2021
“…The playing on this CD by the flautist Adam Walker and his piano accompanist James Baillieu is superb – and not forgetting violist Timothy Ridout’s contribution in the Duruflé. The liner notes, provided in English, German and French, are excellent… This is an absorbing CD, which presents some interesting French music which is just a little off the beaten track. Listeners will find every piece here captures their imagination from the first to the last bar. Hopefully there are further avenues for Adam Walker to explore in the repertoire of French (and maybe even British) flute music.”
“…The playing on this CD by the flautist Adam Walker and his piano accompanist James Baillieu is superb – and not forgetting violist Timothy Ridout’s contribution in the Duruflé. The liner notes, provided in English, German and French, are excellent… This is an absorbing CD, which presents some interesting French music which is just a little off the beaten track. Listeners will find every piece here captures their imagination from the first to the last bar. Hopefully there are further avenues for Adam Walker to explore in the repertoire of French (and maybe even British) flute music.”
John France – MusicWeb-International.com – 20 April 2021
“… This is music (in five continuous movements lasting forty minutes) that grips the listener from the first second to the last – whether eerie/suspenseful, explosive, intricate, eloquent, forceful. Symphony 5 is a big, organic, powerful statement: compelling and exhilarating (I am in fact underselling this masterpiece!) … The just-over half-hour Symphony 6 (also RFH, April 8, 1980) is concerned with birth and development. Sir Charles Groves conducts the London Philharmonic Orchestra in music that may be less overt than its predecessor but is no-less rewarding. It is cast in two Parts (again attacca) opening expressively, reaching cataclysm, then finding pastoral contemplation, and finally renewed energy, ending with striding optimism. The sound is excellent in both works – clear and dynamic, remastered with ‘good ears’…”
“… This is music (in five continuous movements lasting forty minutes) that grips the listener from the first second to the last – whether eerie/suspenseful, explosive, intricate, eloquent, forceful. Symphony 5 is a big, organic, powerful statement: compelling and exhilarating (I am in fact underselling this masterpiece!) … The just-over half-hour Symphony 6 (also RFH, April 8, 1980) is concerned with birth and development. Sir Charles Groves conducts the London Philharmonic Orchestra in music that may be less overt than its predecessor but is no-less rewarding. It is cast in two Parts (again attacca) opening expressively, reaching cataclysm, then finding pastoral contemplation, and finally renewed energy, ending with striding optimism. The sound is excellent in both works – clear and dynamic, remastered with ‘good ears’…”
Colin Anderson – ColinsColumn.com – 2 April 2021
“… Dego seems to have developed an immediate affinity for it [‘il Cannone’], and conveys the wonderful feeling that, under pressure, every note remains within easy reach… “ *****
“… Dego seems to have developed an immediate affinity for it [‘il Cannone’], and conveys the wonderful feeling that, under pressure, every note remains within easy reach… “ *****
Michael Dervan – The Irish Times – 16 April 2021