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Stephen Rodgers
Nineteenth-Century Music Review, November 2014

MENDELSSOHN-HENSEL, F.: Lieder, Vol. 1 (Craxton, Dorn) - Opp. 1, 7, 10 8.570981
MENDELSSOHN-HENSEL, F.: Lieder, Vol. 2 (Craxton, Dorn) 8.572781

Craxton and Dorn’s performance of…Hensel’s famous Nachtwanderer, op. 7, no. 1, is one of the best I’ve heard. The tempo is suitably relaxed—neither too fast nor too slow—which enhances the nocturnalmood; Craxton sounds lovely in her lower register and knows when to hold back her vibrato for expressive purposes.

Dorothea Craxton and Babette Dorn have done a great service in bringing these works to light. One hopes that other performers will follow their lead. © 2014 Nineteenth-Century Music Review

Joseph Newsome
Voix des Arts, July 2013

Pianist Babette Dorn is a sensitive accompanist who encounters nothing in Mendelssohn-Hensel’s music that she is not eminently capable of executing with poise and superb musicality…Ms Dorn displays a true affinity for matching her own phrasing to that of the singer she is accompanying…

Ms Craxton’s voice has a lovely, alluringly feminine timbre that shines in this music. Ms Craxton explores the emotional depths of the Goethe and Heine songs with intelligence, conveying darker sentiments without clouding her sound or distorting the purity of her phrasing. The Byron settings are suitably warm-blooded pieces, and Ms Craxton sings them delightfully. Throughout the performance, Ms Craxton sings winningly. This is a recital that is easily enjoyed nonetheless; and, furthermore, one that is a finer performance than several recent recital discs featuring very famous singers.

As so often in recent years, a NAXOS project fills a gap in the repertory most handsomely. Dorothea Craxton and Babette Dorn give of their best in this recital of Mendelsson-Hensel Lieder that, more than many ‘unearthed’ works, deserve to be heard. © 2013 Voix-Des-Arts Read complete review

David Denton
David's Review Corner, June 2013

Fanny Mendelssohn was an extreme example of the attitude to female composers in the 19th century, though she was to write over five hundred works in a short life. Born four years earlier than her famous brother, Felix, she received much the same musical education given to him, though family expectations were that, when at twenty-four she married Wilhelm Henselher, she would accept the woman’s role as a housewife though in private she continued to write. Stylistically following in the footsteps of Schubert, she used the great literary names for her texts, Heine, Goethe, Byron, Burns and Ruckert all represented on a disc that shows her to have been one of the most outstanding composers of art songs of her generation. Few lasting more than three minutes, ten of the twenty-eight tracks are world premiere recordings. Maybe split over several singers the disc would have gained greatly, Dorothea Craxton characterising each song with the same vocal tone. She has the perceptive accompaniments of Babette Dorn. © David’s Review Corner

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