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Paul Corfield Godfrey
MusicWeb International, January 2016

Simone Young clearly believes in the score, and elicits powerful and responsive playing from the Hamburg orchestra. The chorus do not have much to do, but do the best they can with what they are given. © 2016 MusicWeb International Read complete review

James H. North
Fanfare, September 2015

The role of Lear is a mix of recitative, Sprechgesang, and song; Bo Skovhus manages it all well, and his imposing physical presence contributes much. Katja Pieweck and Hellen Kwong outdo each other in making Goneril and Regan hateful, ugly villainesses; Siobhan Stagg is superb with Cordelia’s high-lying lines. Edgar is a tenor role; in his disguise as the mad Poor Tom, he becomes a countertenor. Andrew Watts excels in both ranges. © 2015 Fanfare Read complete review

Charles H. Parsons
American Record Guide, September 2015

…Skovhus sings and acts with such powerful drama.

This was a real triumph. © 2015 American Record Guide Read complete review on American Record Guide

William R. Braun
Opera News, September 2015

…Karoline Gruber was directing Reimann’s Lear after it had been given two dozen productions in thirty years, so there was room for interpretation. There’s some silliness in her staging, too, including a superfluous silent prologue and a stage full of Lear doppelgangers. But elsewhere her ideas are trenchant. The Lear, Bo Skovhus, is titanic in every scene, whether intimate or public. [Here] he shows himself a singing actor as fine as any today. © 2015 Opera News Read complete review

Mike Ashman
Gramophone, July 2015

REIMANN, A.: Lear (Hamburg State Opera, 2014) (NTSC) 109063
REIMANN, A.: Lear (Hamburg State Opera, 2014) (Blu-ray, HD) 109064

Simone Young (and Skovhus, her virtuoso interpreter of the title-role) sculpts a more extreme, more Wozzeck-like reading of the score than Gerd Albrecht did originally with a more sorrowfully lyrical Fischer-Dieskau. Young is also especially attentive to dynamics and dramatic structure. Karoline Gruber’s stage production uses well-tried Brechtian devices. This taps the mood of the play more harrowingly…

…hugely recommended. © 2015 Gramophone Read complete review on Gramophone

Janos Gardonyi
The WholeNote, June 2015

At the head of the young, energetic and dedicated cast Danish baritone Bo Skovhus is one of today’s most exciting and original artists who simply towers over this production, but Andrew Watts’ heartrending portrayal of “poor boy Tom” Edgar cannot easily be forgotten. With conductor Simone Young’s supreme command over the score (especially in the haunting Intermezzo with its bass flute solo) this awesome set is much recommended. © 2015 The WholeNote Read complete review

Henson Keys
Parterre Box, May 2015

In a DVD from a deeply interesting 2014 production from Staatsoper Hamburg, we find a fascinating…direction by Karoline Gruber, propulsive and insightful conducting from Simone Young and a breakthrough performance by Bo Skovhus in the title role.

Skovhus is simply splendid throughout, doing some of the finest, most passionate acting of his career. He sings with a remarkable palette of vocal colors and moods, and his performance is always authentic and painfully truthful. © 2015 Parterre Box Read complete review

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