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Rob Maynard
MusicWeb International, June 2012

this particular production keeps everything as clear and simple as possible and it will certainly appeal to anyone…

Apart from its clarity, the biggest assets are the three leading singers…José Cura is the real thing and undeniably one of today’s most exciting operatic tenors.

…Maria Guleghina (Maddalena) and Carlo Guelfi (Gerard) are also very skilled, both vocally and in their acting. The beauty of Guleghina’s voice is apparent from her first entrance and she lives her part most convincingly, from her coquettish teasing in the first act to her renunciation of life for the sake of love in the last: watch how, in their Act 2 duet, she pays close attention to Cura’s words and gestures and reacts utterly appropriately and convincingly.

Gerard’s character is a more complex one than Maddalena’s, buffeted as he is by a range of conflicting emotions from the very start. Carlo Guelfi, an immensely strong presence on the Bologna stage, expresses that inner complexity and tension very well and makes his character the opera’s real centrepiece. In Act 3, his self-questioning monologue is very affectingly done and the revelation of his long-suppressed feelings in his subsequent duet with Maddalena is - as it ought to be - a real dramatic highpoint, capped by the soprano’s powerful La mamma morta

…the singers are well supported by an orchestra that plays idiomatically and to the manner-born. They are very well directed, as one would expect, by the experienced Carlo Rizzi. © 2012 MusicWeb International Read complete review

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