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Stephen Francis Vasta
Opera News, May 2015

[Antoni Wit] has a nice feeling for the composer’s variety of orchestral textures, bringing out the shimmer of high strings, underlining the interplay of parts in the Sanctus, and unleashing tuttis with power. His rhythmic address is alert and incisive, yet he takes care to maintain an undulating buoyancy even in the big climaxes and the “Quam olim Abrahae” fugues. And he projects the movements in broad, logical arcs, so, for all the sharp contrasts between sections, the performance never feels episodic or disjointed. © 2015 Opera News Read complete review




Philip Greenfield
American Record Guide, March 2015

…Dvořák’s Requiem is quite powerful. And when it’s performed as well as it is here it touches the soul many times and in many ways. © 2015 American Record Guide Read complete review on American Record Guide



Göran Forsling
MusicWeb International, February 2015

We have come to expect orchestral playing of the highest order from Antoni Wit and the Warsaw Philharmonic…The string playing is marvellous and the woodwind, so important in this work, are refined and ethereal. The violent opening of Dies irae is hair-raising—just as it should be. Quid sum miser is beautifully sung, with hushed female voices. The opening of Confutatis is also magnificent and is followed by Lacrimosa where the end has superb punch. © 2015 MusicWeb International Read complete review




Malcolm Riley
Gramophone, January 2015

Antoni Wit expands his acclaimed catalogue for Naxos with Dvořák’s setting of the Requiem. There’s an orchestral weight that feels just right, and some lovely solo singing. © 2015 Gramophone Read complete review on Gramophone



Steve Holtje
Culture Catch, December 2014

Best New Classical Albums of 2014

Dvořák’s Requiem, though a great work, requires considerable mastery in performance to put it across. It’s a bit long even by Requiem standards, and a bit grimmer and lighter on consolation than any other Requiem in the standard repertoire; it’s quite demanding of both soloists and orchestra; and its music is not especially ingratiating. That may not make it sound like something you’ll want to listen to, but the good news is that Wit conjures just the right tempos to make it flow, assembles a magnificent quartet of soloists, and as usual makes his Warsaw Philharmonic sound like one of the top orchestras in the world. Its woodwinds glint darkly, its brass glow with burnished fire, and its choir can stand with the best. © 2014 Culture Catch




David Hurwitz
ClassicsToday.com, December 2014

Wit just may be the best conductor around these days for big choral works such as this (remember his knockout Mahler Eighth). He finds more ear-catching detail in the music than anyone else has to date.

The soloists, who have a lot to do, are also uniformly excellent. First class engineering makes this a wonderfully satisfying release that hopefully will win many new friends for this powerfully expressive and masterful work. © 2014 ClassicsToday.com Read complete review



Infodad.com, November 2014

Wit in no way downplays the beauty and religious fervor of the music, but he manages to keep the Requiem moving at a pace that retains audience attention and involvement without ever seeming rushed. The result is a well-sung, well-played performance that is highly involving even for those from different religious traditions or none—a work that suggests an underlying interconnection of humanity on a profound spiritual level. © 2014 Infodad.com Read complete review



David Denton
David's Review Corner, November 2014

Dvorak was a popular visitor to England, and, having enjoyed success with Stabat Mater, was commissioned to write the Requiem for the 1891 Birmingham Festival. His style of choral writing proved rewarding and well within the grasp of the many large amateur choral groups that flourished in England at the time, a tradition that continues to this day. There are moments in the Dies Irae that rival the excitement if Verdi’s operatic Requiem, but elsewhere it is largely a lyric score that successfully hides the basic foursquare rhythms that are technically easy for the required choral contribution. For the soloists the score is very attractive and rewards a resolute bass with his role in the Tuba mirum and Lacrimosa. It ishere taken by the Polish-born, Janusz Monarcha, a singer who has spent much of his career as a principal at the Vienna State Opera. Yet it was the soprano part on which Dvorak pinned his hopes for the work’s success, Christiane Libor able to float notes as if suspended on air, as becomes evident in Quid sum miser and Sanctus, while in Domine Jesu Christe she blends very well with the excellent alto, Ewa Wolak, I am just a mite disappointed with the choice of the tenor, Daniel Kirch, whose tonal quality, with its pronounced vibrato, does not fit the texture created by those around him, though his role is quite short. Though seldom performed in England nowadays, we have grown used to their massive choral sound, the Warsaw, by comparison, more transparent and refined. But the success of the performance belongs to Antoni Wit who paces and shapes the work to perfection, his final plea to God in the Agnus Dei both forceful and passionate. Throughout he has obtained the most beautiful orchestral sounds faithfully transferred to disc. Certainly the work’s most outstanding recording in the digital era. © 2014 David’s Review Corner





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