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Leslie Wright
MusicWeb International, October 2017

Of the soloists the soprano Juliana DiGiacomo impresses most… DiGiacomo has a wonderfully pure, yet strong voice and manages the high B-flat in the Libera me as perfectly as I have heard it. She also blends well with mezzo Michelle DeYoung. When DeYoung is on her own she is certainly fine, but can become rather theatrical—at least visually. …Bass Ildebrando D’Arcangelo is quite impressive with his firm, Italianate voice… © 2017 MusicWeb International Read complete review

Dave Billinge
MusicWeb International, February 2014

The Los Angeles performance has star quality. What could be more starry than the young Dudamel and a great American orchestra playing at the Hollywood Bowl? Everything about this production oozes smoothness and polish. The orchestral bassoons deserve full credit for their wonderful playing. The killer, for me, is the lack of desperation. This requiem contains much desperate pleading for forgiveness in the face of damnation and the closing pages are amongst the most moving in Verdi’s whole output. Here it is overwhelmed by polish and perfection and is maybe too beautiful. © 2014 MusicWeb International Read complete review

Patrick Mack
Parterre Box, December 2013

The Los Angeles Master Chorale fully lived up to its name by turning in a stunning performance full of rich tone at any dynamic level and diction clear enough to take dictation from.

Dudamel conducts as a man possessed and in some respects he is. His love for this piece is completely evident and his interpretation is always on a human level, never falling into the trap of grandiosity. One critic here called this performance an important page in this conductor’s maturation and I can only agree.

The Blu-ray disc sound and picture are magnificent and really help to give this performance a serious sense of occasion. © 2013 Parterre Box Read complete review

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