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William Hedley
MusicWeb International, November 2019

BRITTEN, B.: Death in Venice [Opera] (Teatro Real, 2014) (NTSC) 2.110577
BRITTEN, B.: Death in Venice [Opera] (Teatro Real, 2014) (Blu-ray, HD) NBD0076V

Tadzio is played here by Tomasz Borczyk, an actor rather than a dancer. He is poised and beautiful… John Daszak, superb as Herod in the Salzburg Festival’s superlative staging of Salome, is just as convincing and satisfying as Aschenbach. There is nothing to complain about in the smaller parts.

There are many fine and beautiful things in this production, and it is musically satisfying. Britten devotees such as myself will want to see it and return to it, as its point of view on this most equivocal of operas, is a fascinating one. © 2019 MusicWeb International Read complete review



Allan Altman
American Record Guide, March 2019

BRITTEN, B.: Death in Venice [Opera] (Teatro Real, 2014) (NTSC) 2.110577
BRITTEN, B.: Death in Venice [Opera] (Teatro Real, 2014) (Blu-ray, HD) NBD0076V

Tenor John Daszak is an ideal Aschenbach, with unfailing purity of tone, elegance of phrasing, and clarity of diction. As an actor, he finds fine variety in the repetitive nature of the character’s befuddled longing. Baritone Leigh Melrose is magnificently menacing in the roles of Aschenbach’s mysterious guides (The Traveller, Elderly Fop, Old Gondolier, etc.).

Conductor Alejo Perez sustains a beautiful orchestral transparency and dramatic urgency. © 2019 American Record Guide Read complete review on American Record Guide




Clive Paget
Opera News, March 2019

Anthony Roth Costanzo is perfectly cast, his otherworldly timbre ideal for the unseen Voice of Apollo. Duncan Rock sings firmly and thoughtfully as the English Clerk and one of a busy commedia-inspired troupe embodying the double-dealing denizens of ambiguous Venice.

Alejo Pérez leads a clear, steady reading of Britten’s austerely magical score, while the disciplined members of the Teatro Real Chorus are perfect as a veritable horde of tourists. Essential viewing for all lovers of contemporary opera, this spellbinding Death in Venice stands far above the alternatives on disc. © 2019 Opera News Read complete review




Benoit Fauchet
Diapason, February 2019

A nearly perfect evening. © 2019 Diapason



Opera, February 2019

BRITTEN, B.: Death in Venice [Opera] (Teatro Real, 2014) (NTSC) 2.110577
BRITTEN, B.: Death in Venice [Opera] (Teatro Real, 2014) (Blu-ray, HD) NBD0076V

The orchestral playing is notable for its skill and refinement. © 2019 Opera



Andrew Timar
The WholeNote, January 2019

Musically, Britten’s score is a study in brilliant orchestration of refreshing invention, vigour and chamber music delicacy. Characters are deftly rendered in contrasting musical styles and genres. Italian opera buffa is parodied and Aschenbach’s vocals are supported by orchestral strings and winds. By way of contrast a five-piece percussion section provides a very adroit evocation of the timbre and texture of Balinese gamelan music – representing the “other” – underpinning all of the boy Tadzio’s stage appearances.

John Daszak is exemplary as Aschenbach, and Willy Decker’s 2014 Teatro Real, Madrid production brilliantly supports the cumulative impact of the final tragic scene of Britten’s last, emotionally resonant, opera. © 2019 The WholeNote Read complete review




Uwe Krusch
Pizzicato, December 2018

This recording of Britten’s Death in Venice is pleasingly staged. The performers John Daszak and Leigh Melrose are excellent, and dancer Tomasz Borcyk is a brilliant Tadzio. © 2018 Pizzicato



Richard Fairman
Gramophone, December 2018

BRITTEN, B.: Death in Venice [Opera] (Teatro Real, 2014) (NTSC) 2.110577
BRITTEN, B.: Death in Venice [Opera] (Teatro Real, 2014) (Blu-ray, HD) NBD0076V

John Daszak comes to the role of Aschenbach with more voice than most of his predecessors. He is dignified and unexaggerated in his portrayal, perhaps even a touch over-formal… Leigh Melrose, given the look of a satyr, offers vivid characterisations in the nemesis roles, though he has been encouraged to overplay the fop and, en travesti, the leader of the players. Anthony Roth Costanzo sings a suitably ethereal Apollo and Tomasz Borczyk, sporting a scallywag’s scarecrow haircut, is a native Polish Tadzio. © 2018 Gramophone  Read complete review on Gramophone





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