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Colin Clarke
Fanfare, May 2015

Fuchs is blessed here to work with the baritone Roderick Williams, whose honeyed voice and keen intelligence shine through in everything he touches, here and elsewhere.

The recording is exemplary. © 2015 Fanfare Read complete review

Ronald E. Grames
Fanfare, May 2015

Roderick Williams wraps his warm, expressive baritone around each word and phrase as if it was a special friend. Texts are provided, but these are rarely needed due to the clarity of the recording, Williams’s diction, and the skillful setting. © 2015 Fanfare Read complete review

David DeBoor Canfield
Fanfare, May 2015

…baritone Roderick Williams can convince the listener…to his versatility as a singer. His vocal quality is most pleasing, whether he’s portraying drama or jocularity.

In every parameter, this CD is a winner. Performances sparkle under the skilled direction of JoAnn Falletta and the…baritone artistry of Roderick Williams. In two words, then: highly recommended. © 2015 Fanfare Read complete review

Jerry Dubins
Fanfare, April 2015

[Williams’s] is a voice of commanding authority, vibrant, and rich in tonal luster and subtle overtones. Combine that with the commanding authority of JoAnn Falletta leading the London Symphony Orchestra and chamber ensembles drawn therefrom in these absorbing works by Kenneth Fuchs, and you have, in my estimation, an award-winning, urgently recommended release. © 2015 Fanfare

International Record Review, January 2015

The playing in all three works is magnificent, and the orchestral accompaniment to Falling Man under JoAnn Falletta, in particular, will have thrilled the composer. Roderick Williams sings with all the vocal beauty and power, and with the same care to vary his vocal colour according to the demands of the text and the music… © 2015 International Record Review

Stephen Estep
American Record Guide, January 2015

[Williams’s] tone is appealing and his diction superb… © 2015 American Record Guide Read complete review on American Record Guide

Bruce Hodges
The Juilliard Journal Online, December 2014

[In Falling Man] Fuchs uses DeLillo’s sober descriptions to create raw and powerful results. The unnerving narrative is…a showcase for the dulcet baritone of Roderick Williams and the keenly attentive playing of the London Symphony Orchestra, led by JoAnn Falletta. Williams shows extraordinary tonal control while articulating each syllable…

In Movie House, Fuchs deploys a luxurious array of orchestral colors to illuminate seven John Updike poems from 1963. In each poem, Fuchs has a talent for setting words with natural cadences and Williams for luscious tone. © 2014 The Juilliard Journal Read complete review

Jeffrey Tarlo
Expedition Audio, October 2014

Based on Don DeLillo’s post-9/11 novel Falling Man, the eponymous song cycle composed by Kenneth Fuchs is a stunning work that truly encapsulates the ineffable experiences of that day. Fuchs’ music supports but never overshadows baritone Roderick Williams. You can hear every gripping word of the sung narrative. The London Symphony’s superb accompaniment is under the excellent direction of JoAnn Falletta. With Falling Man, Fuchs has written what for me is the defining musical memorial of 9/11. The music has the grace and strength needed for such a work.

Fuchs is one of the great composers of our time, composing music that is expressive, beautiful and broadly tonal. © 2014 Expedition Audio Read complete review

Robert Tomas
The WholeNote, September 2014

… JoAnn Falletta conducts the LSO brilliantly…the real star of this recording is Roderick Williams, whose soft, velvety baritone belies the harsh descriptions of falling ash and human artifacts raining down on Wall Street that horrible morning. © 2014 The WholeNote Read complete review

Ralph Graves
WTJU, September 2014

Roderick Williams…has a warm, rich voice that is supple and expressive.

…you’ll not be disappointed with Falling Man. © 2014 WTJU Read complete review

Steven Bergman
EDGE on the Net, September 2014

The opening piece is the title track, “Falling Man.” Written for baritone voice and orchestra just five years ago, Fuchs’ music expertly conveys the man’s experiences during this climactic period in our history. The LSO ably supports Fuchs’ work under Falletta’s baton through both the fragile accompanying sections and the three instrumental interludes.

Williams’ performance on “Falling Man”…vividly portrays both the eerie horror and the chaos of that horrific day…while he is in complete control throughout the other two song cycles.

This is a wonderfully recorded disc that should continue to gain Fuchs the notoriety he so deserves. © 2014 EDGE on the Net Read complete review

Grego Applegate Edwards
Gapplegate Classical-Modern Music Review, September 2014

Fuchs is in every way a fully developed composer-personality of today. These three works in the masterful hands of Falletta and Williams, in the carefully dream-like performances of the London Symphony Orchestra, come through as works we can ill afford to ignore.

Kenneth Fuchs sums up something about being alive right now in the three works taken together. He speaks to our age as a direct contemporary, neither overstating nor understating, bringing us a very musical-poetical portrayal of where we have been and where we are.

On that basis I would say that this disk is pretty near indispensible for those wanting the new music as it lives for us right now. Kenneth Fuchs captures that, and thanks to the beautiful performances we can live inside of it here, as we live the aftermath of what came before. © 2014 Gapplegate Classical-Modern Music Review Read complete review

Donald Rosenberg
Gramophone, September 2014

Fuchs claims his own expressive warmth and colour. The performances are exemplary, from baritone Roderick Williams’s commanding artistry to the bold, fresh playing of the London Symphony Orchestra under JoAnn Falletta’s sensitive direction. © 2014 Gramophone Read complete review on Gramophone

David Denton
David's Review Corner, September 2014

The fifth Naxos disc in an overview of music by Kenneth Fuchs, one of a growing number of American composers seeking to reconnect with disaffected audiences. With the composer present at the sessions, and the Fuchs’ champion, JoAnn Falletta, conducting, we can take these performances as carrying his stamp of approval. Immaculately recorded and strongly recommended. © 2014 David’s Review Corner, August 2014

JoAnn Falletta leads the London Symphony Orchestra with sure-handedness and a clear comprehension of the music, giving Fuchs’ works plenty of opportunities to connect with listeners and move them. © 2014 Read complete review

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