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Allan Clayton: RPS winner

Allan wins RPS 2018 Singer award - congratulations!

Pre-order his new album here

Ilic: Reicha Rediscovered

New documentary series following the life of Reicha.

Watch Episode 1 here

Apple Music Curator

Hear new playlists, remember classics, discover new music.

Explore our new profile here

Jean-Efflam Bavouzet

In concert for Debussy's centenary.

Read the review here

 

Juno Award Nominees

Congratulations to our Juno Award Nominees

See the list of nominees

Grammy Award Winners

Congratulations to our distributed labels on Grammy wins

See the list of winners

BBC Music Magazine Awards

[Orchestral Award nomination]

See the full list of nominations

 

Editor's Choice 

‘Full of perceptiveness and personality’

Gramophone, January 2018

 

Grammy nomination 

[Best Choral Performance] Congratulations to Sir Andrew Davis, Toronto Symphony Orchestra & Toronto Mendelssohn Choir (see the full list here).

Gramophone Awards

Congratulations to Silesian Quartet, winner of the Chamber Award for their Bacewicz album.

Click here for more

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Latest Reviews

“…The singer is in good voice throughout and her technique is enviable as ever.”

 

“…The singer is in good voice throughout and her technique is enviable as ever.”

 

Gramophone magazine – May 2014

“… one of the very best Verdi sopranos in the world … a very pleasing souvenir of her artistry in this repertory.”

“… one of the very best Verdi sopranos in the world … a very pleasing souvenir of her artistry in this repertory.”

Opera magazine – July 2014

“Stoyanova is very committed emotionally … Pavel Baleff does commendably with the Munich Radio players, impressing from the start.”

“Stoyanova is very committed emotionally … Pavel Baleff does commendably with the Munich Radio players, impressing from the start.”

International Record Review – April 2014

“… both enjoyable and impressive… [Podles] sounds thrillingly elemental, with rich tone, dramatic flair and an almost glutinous relish of the vowel sounds. Beczala has enough metal in his instrument but retains the capacity for elegance.”

“… both enjoyable and impressive… [Podles] sounds thrillingly elemental, with rich tone, dramatic flair and an almost glutinous relish of the vowel sounds. Beczala has enough metal in his instrument but retains the capacity for elegance.”

Opera magazine – August 2013

“… The Polish tenor's move into a heavier repertoire than hitherto associated with him is amply vindicated in this celebratory CD...he retains the golden quality of his voice as he sizes up. The result is singing on a grand scale, impeccable in diction, tone and musicianship.”

“… The Polish tenor's move into a heavier repertoire than hitherto associated with him is amply vindicated in this celebratory CD...he retains the golden quality of his voice as he sizes up. The result is singing on a grand scale, impeccable in diction, tone and musicianship.”

BBC Music magazine – July 2013

“… Schwanewilms is arguably the finest native German interpreter of Strauss’s more lyrical operatic roles, yet despite a soprano of considerable loveliness, she can sound disengaged, particularly from the words. Here, she gives a good account of herself, especially in the closing monologues of Arabella and Countess Madeleine …”

“… Schwanewilms is arguably the finest native German interpreter of Strauss’s more lyrical operatic roles, yet despite a soprano of considerable loveliness, she can sound disengaged, particularly from the words. Here, she gives a good account of herself, especially in the closing monologues of Arabella and Countess Madeleine …”

The Sunday Times – 22 July 2012

“… she soars through them all, pearl-like, backed by the succulent purr of Cologne’s Gürzenich Orchestra, conducted by Markus Stenz.” ****

“… she soars through them all, pearl-like, backed by the succulent purr of Cologne’s Gürzenich Orchestra, conducted by Markus Stenz.” ****

The Times – 20 July 2012

“…[Opolais's] bright soprano, with its surface sparkle, vividly portrays the intense feelings of Sister Angelica...Lioba Braun has the right dark forceful mezzo for the Princess... Nelsons paces the opera fluidly and the orchestral balance is close, making Puccini's colours come over strongly.”

“…[Opolais's] bright soprano, with its surface sparkle, vividly portrays the intense feelings of Sister Angelica...Lioba Braun has the right dark forceful mezzo for the Princess... Nelsons paces the opera fluidly and the orchestral balance is close, making Puccini's colours come over strongly.”

Gramophone magazine – January 2013

“…[Kristine Opolais has] a fine lyric spinto, silvery tone, perfect for Puccini...Mojca Erdmann is a delightful Suor Genonieffa, her crystal-clear soubrette just right for this well-meaning chatterbox...[Braun's] mezzo has suitable coldness and depth...Puccini's orchestration is revelled in.”

“…[Kristine Opolais has] a fine lyric spinto, silvery tone, perfect for Puccini...Mojca Erdmann is a delightful Suor Genonieffa, her crystal-clear soubrette just right for this well-meaning chatterbox...[Braun's] mezzo has suitable coldness and depth...Puccini's orchestration is revelled in.”

International Record Review – December 2012

“…a winning combination. Opolais possesses a freshness, richness and sense of urgency in her soprano that matches well with the fragility and strength of Puccini’s nun … [a] beautifully-managed recording”

“…a winning combination. Opolais possesses a freshness, richness and sense of urgency in her soprano that matches well with the fragility and strength of Puccini’s nun … [a] beautifully-managed recording”

Opera magazine – December 2012

“Kristine Opolais (Mrs Andris Nelsons) may not have the vocal opulence of Renata Tebaldi or Mirella Freni, or the intensity of Renata Scotto, but her beautifully sung account of this heart-rending role demonstrates that her sensational Royal Opera debut as Butterfly was no fluke...Nelsons and the WDRSO relish Puccini’s orchestration.”

“Kristine Opolais (Mrs Andris Nelsons) may not have the vocal opulence of Renata Tebaldi or Mirella Freni, or the intensity of Renata Scotto, but her beautifully sung account of this heart-rending role demonstrates that her sensational Royal Opera debut as Butterfly was no fluke...Nelsons and the WDRSO relish Puccini’s orchestration.”

The Sunday Times – 2 September 2012

“Opolais's bright, intensely focused soprano, together with her husband Andris Nelsons's equally crisp handling of the orchestral writing, gives the score a much sharper definition than usual. Not everything in her singing is idiomatically Italianate, but there is nothing remotely mawkish or sugary sweet about the performance...Lioba Braun's haughty, formidable Principessa is the perfect foil to Opolais” ****

“Opolais's bright, intensely focused soprano, together with her husband Andris Nelsons's equally crisp handling of the orchestral writing, gives the score a much sharper definition than usual. Not everything in her singing is idiomatically Italianate, but there is nothing remotely mawkish or sugary sweet about the performance...Lioba Braun's haughty, formidable Principessa is the perfect foil to Opolais” ****

The Guardian – 20 September 2012

“… Nelsons draws sensitive responses from the Cologne Radio Symphony Orchestra and Chorus but resists the temptation to “go soft” on the story, so that the performance unfolds with inexorable dramatic sweep. Even better, Opolais uses her considerable vocal powers to draw a psychological portrait of formidable insight.”

“… Nelsons draws sensitive responses from the Cologne Radio Symphony Orchestra and Chorus but resists the temptation to “go soft” on the story, so that the performance unfolds with inexorable dramatic sweep. Even better, Opolais uses her considerable vocal powers to draw a psychological portrait of formidable insight.”

Financial Times – 25 August 2012

“… He [Müller-Schott] makes palpable the feeling of panic in the virtuosic Allegro giusto and plays its espressivo with graceful yearning. The piece concludes with more impassioned playing and impossibly high broken chords off the fingerboard of his 1727 Gofriller cello.”

“… He [Müller-Schott] makes palpable the feeling of panic in the virtuosic Allegro giusto and plays its espressivo with graceful yearning. The piece concludes with more impassioned playing and impossibly high broken chords off the fingerboard of his 1727 Gofriller cello.”

The Strad – September 2013

“…[Müller-Schott and Saraste are] inclined to approach the work as a standard romantic concerto. The tone is rich and warm, the orchestral sound founded on the strings, with wind and brass more distant. Müller-Schott makes the music sing...Saraste backs him up wholeheartedly, though the WDR Symphony Orchestra's very decent playing is short on rhythmic cut-and-thrust.”

“…[Müller-Schott and Saraste are] inclined to approach the work as a standard romantic concerto. The tone is rich and warm, the orchestral sound founded on the strings, with wind and brass more distant. Müller-Schott makes the music sing...Saraste backs him up wholeheartedly, though the WDR Symphony Orchestra's very decent playing is short on rhythmic cut-and-thrust.”

Gramophone magazine – February 2013

“…These two 'symphony' concertos are hellishly demanding and Daniel Müller-Schott is more than equal to the task...A protege of Rostropovich, he's also well qualified to plumb their expressive depths. Yet my enthusiasm for this recording is qualified. The hectic, driven quality of his approach can become relentless...The Prokofiev Symphony-Concerto comes over best in a heroic if slightly one-dimensional performance.”

“…These two 'symphony' concertos are hellishly demanding and Daniel Müller-Schott is more than equal to the task...A protege of Rostropovich, he's also well qualified to plumb their expressive depths. Yet my enthusiasm for this recording is qualified. The hectic, driven quality of his approach can become relentless...The Prokofiev Symphony-Concerto comes over best in a heroic if slightly one-dimensional performance.”

BBC Music magazine – February 2013

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