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Charles H. Parsons
American Record Guide, November 2014

The performance is just as enchanting…[and] countertenor Mehta is overwhelmingly dramatic. Orchestra and chorus are quite thrilling and right in style. © 2014 American Record Guide Read complete review on American Record Guide




Steven Ritter
Audiophile Audition, September 2014

GLUCK, C.W.: Orfeo ed Euridice (Studio Production, 2014) (NTSC) 102184
GLUCK, C.W.: Orfeo ed Euridice (Studio Production, 2014) (Blu-ray, HD) 108103

A beautifully captivating film of Gluck’s most famous work in its original guise.

…Mehta is a fine musician with an extraordinary technique and gives his all to the performance, as does his counterpart in Eva Liebau, playing Euridice with sympathy and fine tone. © 2014 Audiophile Audition Read complete review




Richard Lawrence
Gramophone, September 2014

GLUCK, C.W.: Orfeo ed Euridice (Studio Production, 2014) (NTSC) 102184
GLUCK, C.W.: Orfeo ed Euridice (Studio Production, 2014) (Blu-ray, HD) 108103

The candlelit scenery is delightful…it’s well done. With her long hair Regula Mühlemann…portrays the character with great charm. Eva Liebau is excellent as Eurydice, uncomprehending and then furious at Orpheus’s refusal to look at her on their journey back from the underworld. ‘Che fiero momento’ almost has the force of Electra’s final outburst in Idomeneo.

Bejun Mehta mourns Eurydice at the start with tenderness, and there’s a nice sense of wonder at the Elysian Fields. I wonder if Gluck would have cared for his embellishing the clean lines of ‘Che farò’. The period orchestra under Václav Luks is fine. There is much to enjoy here. © 2014 Gramophone Read complete review on Gramophone



John Yohalem
Opera Today, August 2014

The director, OndÅ™ej Havelka, moves swiftly from scene to scene, focusing tightly on his singers (excellent actors all), with gentle ribbing of baroque convention—for instance, having Amor (the charming Regula Mühlemann) file his nails with an arrow, then use it to cut the rope with which Orfeo attempts to hang himself.

Mehta sings with a bright, lustrous sheen and a prevailing melancholy color that are most attractive, never hooting or forcing beyond his natural and exceptional strength. His torment as Eva Liebau’s Euridice doubts his sincerity is personal and persuasive, and his musicality includes charming ornaments of the da capo of “Che faró senza Euridice.” The ladies have a great deal less to sing but do it lavishly, with sweet voices and elegant line. © 2014 Opera Today Read complete review



Robert J Farr
MusicWeb International, July 2014

The role of Orfeo is sung by the American counter-tenor Bejun Mehta. His creamy tone and expressive use of vocal nuance is a notable strength…his acting is committed and his vocal articulation, expression and characterization are exemplary…Eva Liebau sings strongly and acts well as Euridice whilst Regula Mühlemann as Amore, in colourful attire, and after a spectacular entrance, does so as well. © 2014 MusicWeb International Read complete review





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