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Paul Corfield Godfrey
MusicWeb International, March 2015

The fact that this Naxos release gives us the symphony in a properly corrected edition is in itself a major recommendation…the sheer power of the composer’s exuberance and his clear enjoyment of his material have an infectious quality that never leaves the listener bored or uninterested. © 2015 MusicWeb International Read complete review



Roger Hecht
American Record Guide, March 2015

Villa-Lobos’s symphonies teem with life and energy. With Karabtchevsky, they are warm and pleasant… The São Paulo orchestra played well… © 2015 American Record Guide Read complete review on American Record Guide



Phillip Scott
Fanfare, March 2015

The new recording of this colorful canvas is, quite simply, the one to have. …in the lengthy fourth movement, Karabtchevsky never allows the dramatic thrust to dissipate, and the symphony seems less longwinded as a result. The Brazilian orchestra, choir, and soloists bring great conviction to their performance. The Naxos sound is…full and clear…and the choral part is well balanced in the texture. © 2015 Fanfare Read complete review



John Whitmore
MusicWeb International, February 2015

The São Paulo Symphony Orchestra is fully committed and Isaac Karabtchevsky holds the complex writing together most admirably. The recording is spectacular… © 2015 MusicWeb International Read complete review



Corinna da Fonseca-Wollheim
The New York Times, February 2015

Massive, glittering and intricately coiled, Villa-Lobos’s 10th, “Ameríndia,” is an anaconda of a symphony. Commissioned to commemorate the 400th anniversary of the founding of São Paulo in 1954, it’s a sprawling oratorio that draws on Tupi, Portuguese and Latin texts to celebrate the Jesuit missionary José de Anchieta. This fine recording makes the most of the drama and simmering energy of Villa-Lobos’s dense score, but the work remains a perplexing, heavy heap of good intentions. © 2015 The New York Times



Robert E. Benson
ClassicalCDReview.com, February 2015

This is a magnificent performance of a major choral work of the 20th Century. The Saõ Paulo orchestra and chorus do total justice to this music, and the recording…is superb sonically. An outstanding issue! © 2015 ClassicalCDReview.com Read complete review



Brian Wilson
MusicWeb International, February 2015

Villa-Lobos’ Symphony No.10…[is] well worth hearing in this enthusiastic recording. © 2015 MusicWeb International Read complete review



Guy Rickards
Gramophone, January 2015

This new Tenth is the most convincing account yet, caught splendidly by Naxos in fine sound. Recommended with enthusiasm to all those interested in Villa-Lobos—and those who aren’t. © 2015 Gramophone Read complete review on Gramophone



Stephen Smoliar
Examiner.com, December 2014

…those familiar with the Bachianas Brasileiras…are likely to find their memories triggered by this tenth symphony. What is particularly distinguishing and appealing is the introduction of the vocal element, both through the São Paulo Symphony Choir and the vocal solos of baritone Leonardo Neiva and bass Saulo Javan. While Villa-Lobos composed nine operas between 1909 and 1955, the tenth symphony appears to be his primary effort to bring choral music into a symphonic settings; and the results make for engaging listening in ways not encountered in his other orchestral work. © 2014 Examiner.com Read complete review




Andrew Clements
The Guardian, December 2014

Isaac Karabtchevsky does a good job in keeping everything shapely and well balanced…and as part of Naxos’ series devoted to Villa-Lobos’ symphonies, it’s certainly worth exploring. © 2014 The Guardian Read complete review



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

The São Paulo Symphony Orchestra and Choir and the soloists in Leonardo Neiva, baritone, and Saulo Javan, bass, create a complex mosaic that exemplifies late orchestral Villa-Lobos at his very best. It is symphonic, yet at the same time an oratorio about the origins of the area and its early history, dealt with somewhat impressionistically but in ways totally characteristic of the later musical language of the master.

Of all the Villa-Lobos symphonies released thus far on Naxos this one stands out as a major work, a living entity of wonderful sound.

It is a moving performance of a work that stands among the tallest orchestral trees planted by Villa-Lobos in his very productive lifetime.

Highly recommended. © 2014 Gapplegate Classical-Modern Music Review Read complete review



David Denton
David's Review Corner, November 2014

Of the eleven surviving symphonies of Hector Villa-Lobos—the Fifth having been lost—the Tenth is the most problematical and technically difficult in its demands. Its place among his symphonies is clouded by the composer’s description on the score’s title page as an ‘Oratorio for soloists, chorus and orchestra’, then further confusing its intended content by giving two very different subtitles. So we have a long work in five movements that requires an enormous orchestra, and a choir capable of singing the most complex passages. I am not even going to try to unravel the story being sung, but you will hear the whole gamut of Latin American, native Indian and European music in an extravaganza of fascinating sonorities and rhythms. Four of the movements are quite short, and it is the fourth, ‘The Voice of the Earth’, that lasts for over twenty-five minutes, that gives the work its length. Many believe it is part, or even the whole of his ‘lost’ Fifth Symphony, and that may well be the case. To say the result is a meandering work would not be cruel, its ability to hold our attention coming from the imaginative scoring. It is also a very active work throughout, the unusual harmonies in the fourth movement leaving one deep in admiration for the Sao Paulo choir, and equally wondering just how many rehearsals the work took. I guess they were relieved to reach the more conventional writing that takes up the second part of the fourth movement, though the fifth movement is cruel for the sopranos. Commissioned to mark the 400th Anniversary of the founding of Sao Paulo, it is here performed in a new critical edition of Villa-Lobos’s symphonies from the orchestra’s publishing house, and under the direction of the disc’s conductor, Isaac Karabtchevsky. He has a superb group of musicians to meet Villa-Lobos’s extreme demands, and the engineers have done marvels in accommodating the extreme dynamics. © 2014 David’s Review Corner





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