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Laurence Vittes
Gramophone, September 2018

Hannah Lash’s 40-minute Requiem is a gentler, more lyrical, less doomsday-laden response to the existence of mortality. She immediately scores points by using her own ‘re-translation’ from the Latin, the result merging text and music together in an inevitable flow. There are some hints of Britten here and there but Lash writes in her own language entirely, enchanting and enchanted. The instrumentalists play as beautifully as the singers sing—the composer plays the harp in the Agnus Dei—and countertenor Eric Brenner soars in his three big solos. © 2018 Gramophone Read complete review on Gramophone

Daniel J. Kushner
Opera News, August 2018

“Consent” is a powerful indictment of patriarchal abuse and the subtle and unsubtle ways in which misogyny still proliferates.

The strength of the work comes from Hearne’s mastery of vocal blend and rhythmic precision, executed adroitly by the Yale Choral Artists and its founding director, Douma. What makes “Consent” impossible to ignore is the tension between the beauty of Hearne’s music and the uncomfortable thematic questions raised by the texts. This dynamic is best encapsulated in the composition’s final line, a simple yet stunning rhetorical challenge to the listener: “Who gives this woman?” © 2018 Opera News Read complete review

Stephanie Boyd
American Record Guide, July 2018

I really enjoyed this thought-provoking album of choral music from Yale. The Yale Choral Artists bring a sense of urgency not found in the more subdued performance by The Crossing. As is typical for Hearne, he creates a dense collage on the “duplicitous role of language”, layering text from his own love letters, Catholic and Jewish marriage texts, and text messages… © 2018 American Record Guide Read complete review on American Record Guide, April 2018

Jeffrey Douma leads the chorus and instrumental ensemble with feeling and understanding throughout in this world première recording. © 2018 Read complete review

David Denton
David's Review Corner, March 2018

Showcasing the rich seam of music that Yale University has brought to North America, three 21st century pieces come from composers who were trained there. The disc takes its title ‘Statements’ from the statement made by Eugene Debs in court, when, as a Democrat and Trade Union leader, he had been charged under the Sedation Act of 1918, which sought to silence anyone who spoke out against the Government. In this, its centenary year, a setting of those words by David Lang should be performed in every concert hall in the world, for they are a vivid warning of the dangerous direction in which the world is now travelling. It is underlined by a pounding drum in music that is direct and unnerving. Beware, this is a simple and deeply moving score. The disc’s most extended work is the Requiem from Hannah Lash. Born in 1981, she is now taking a critically acclaimed place among that group who are modifying tonality in a new and hugely interesting style of writing. Using a new English translation of the familiar Latin text of the Requiem, she points, in the notes with the disc, to the fear of death and how that affects those who experience loved ones dying. It provides thought provoking moments, particularly as the mercurial Dies Irae which has nothing like the high impact we associate with the words. The following Sanctus, with its role for solo harp is delightful and picks out the words ‘The sky is full of light’, the harp becoming again prominent in the suffering of the Agnus Dei, while the Lux aeterna returns to the mood of the Sanctus. In total this is fresh view of the Requiem that may puzzle you. The short Consent by Ted Herane links love letters and religion in a work that uses an adapted tonality. The Yale Choral Artists, a recently formed group of sixteen professional singers, sound at ease with these often difficult scores, and are joined with the very able instrumental students of Yale University. The church recordings have brought with them a degree of reverberation that is very much a personal taste. © 2018 David’s Review Corner

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