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Gavin Dixon
Fanfare, July 2019

Tenor Colin Blazer is more associated with the Baroque repertoire than the late Romantic, but he has a fine voice that suits this music. His tone is light but impressively agile. Pfitzner occasionally makes Wagnerian demands, especially with loud and high phrase endings, and Blazer sometimes struggles, although he is able to add a carefully controlled vibrato to stabilize these passages. His German diction is good, with satisfyingly rolled “r”s, although “ch” sounds could be softer. Pianist Klaus Simon doesn’t overplay the generally conservative accompaniments, and balances between singer and accompanist are good.  © 2019 Fanfare Read complete review



Robert A. Moore
American Record Guide, July 2019

Canadian tenor Colin Balzer sounds splendid in this program. I have heard him on stage at the Boston Early Music Festival, where he has earned high praise. His lovely lyric voice, lucent diction, superb dynamic control, sensitive phrasing, and keen ability to color his voice to fit the text make him ideal for lieder. © 2019 American Record Guide Read complete review on American Record Guide



Classical CD Reviews, April 2019

[Tenor, Colin Balzer] His tone is light but impressively agile. © 2019 Classical CD Reviews




Uwe Krusch
Pizzicato, March 2019

Here we have a successful continuation of the Naxos Pfitzner series. The second volume comprises works for tenor. Colin Balzer and Klaus care for atmospheric performances that are really attractive. © 2019 Pizzicato



Stephen Smoliar
The Rehearsal Studio, January 2019

Both Stallmeister and Balzer clearly appreciate the rhetorical objectives of each poem, and they both serve as informed partners for Simon’s piano accompaniment. The bottom line is that these albums offer a journey of discovery worth taking; and I definitely hope that, sooner rather than later, I shall encounter a recitalist willing to offer up some of these songs in performance. © 2019 The Rehearsal Studio Read complete review



David Denton
David's Review Corner, January 2019

Born in Moscow in 1869, Hans Pfitzner’s parentage and upbringing was in Germany, and it was there that he created a career as a conductor and a composer of opera. He had been writing songs from the age of fifteen, his eventual catalogue of works including over a hundred lieder. Stylistically he followed in the same mood as Schubert, the present disc covering the period 1884 to 1916 during which time there were seismic changes taking place in music to which he did not subscribe, and he became a composer working in a time warp. Divorce him from those dates, and this disc shows he was an instinctive composer for the voice, though maybe a little lacking in dramatic content. His inspiration came from the great German poets, Heine, Goethe and Eichendorff frequently appearing in the twenty tracks on the disc. Most are quite short and gathered by Pfitzner into groups—Sieben Lieder, Sechs Leider and Funf Lieder—which then formed his second, sixth and seventh opuses. His piano writing was no less distinguished than that of Schubert, and vividly paints the scene expressed in words. They are never short of melodic inspiration, yet they somehow avoid that ability to lodge readily in my memory. Certainly they have found an ideal champion in the pianist, Klaus Simon, who also featured in the first volume of this complete cycle. Here he is joined by the Canadian tenor, Colin Balzer, a singer equally at home in recitals or the opera house on both sides of the Atlantic, it is a lyric voice that can ideally float long passages, his intonation and diction both immaculate, though you will still need to download the words and translation that are available on the Naxos website. Strangely this well recorded disc has been hiding itself since the sessions in 2010. © 2019 David’s Review Corner



Records International, January 2019

This volume covers the period between 1884 and 1916 with a central theme of the songs being the archetypical Romantic focus on the portrayal of nature as a reflection of human feelings. Volume 1 was as long ago as November of 2013… Texts and translations available online. © 2019 Records International





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