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Roger Pines
Opera News, January 2017

Pizzolato is an agile-voiced Joan, while lacking the ideal thrust at both extremes of her range. It’s a notably intelligent performance, rather than an interpretively imaginative or especially colorful one. © 2017 Opera News Read complete review



Raymond Tuttle
Fanfare, January 2017

This performance comes from the 23rd Rossini in Wildbad Festival, and it’s a strong one. The soloists are effective and well blended, and I’d like to mention that tenor José Luis Sola has a timbre which at times is reminiscent of the young Pavarotti’s. Mezzo Pizzolato is eloquent in “Fac ut portem,” and soprano Majella Cullagh wrings plenty of drama out of the “Inflammatus.” The orchestra and the chorus are very professional and well rehearsed, and Fogliani moves the performance along with sensitivity and spirit. © 2017 Fanfare Read complete review



Marc Rochester
MusicWeb International, October 2016

The performances have a very operatic feel about them, and Fogliani has no reservations about emphasising the drama and colour of the music. His orchestrations have an authentic feel, even if he perhaps enjoys opportunities for wind display a little more than Rossini might have done.

The playing of the orchestra is very good throughout and the chorus has a splendidly committed feel in the Stabat Mater. © 2016 MusicWeb International Read complete review



John Quinn
MusicWeb International, September 2016

The performance as a whole is satisfactory. The two female soloists are outstanding; their male colleagues sing well enough… The choral singing is serviceable. The Württemburg Philharmonic Orchestra plays well. © 2016 MusicWeb International Read complete review



David Denton
David's Review Corner, July 2016

Unable to meet his commission on time, Rossini enlisted the help of his friend, Giovanni Tadolini, to write complete sections of his now famous Stabat Mater. Some years later, when Rossini found out that score was about to be published, he hurriedly completed it, Tadolini’s contribution, which covered seven of the thirteen sections, being tactfully ‘lost’, and the world at large never knew of his duplicity. Probably unknown to Rossini, a piano reduction did survive, and it is now resurrected and orchestrated by the conductor of this recording, Antonino Fogliani. The result was then performed in 2011 at the Rossini Festival in Bad Wildbad as ‘the complete Stabat Mater as heard in 1833’. If Tadolini’s contribution was, at best, the work of a skilled kapellmeister, it is interesting to ponder on how it could have ever been accepted as his work. I am less inclined to welcome Marco Taralli’s 2009 orchestration of Rossini’s piano accompaniment for the solo cantata, Giovanna d’Arco, for the composer would have done that himself if he had any desire to add instrumentation. It was also performed in this new format at the 2011 festival, the Irish-born soprano, Majella Cullagh, giving an imposing performance to add to the fiery account of Inflammatus et accensus in the Stabat Mater. The other soloists in Stabat Mater show a rather lightweight bass from Mirco Palazzi; a tenor, José Luis Sola, who does not, thankfully, stand out in the Sancta Mater, and an accomplished Polish choral group. The Württemberg Orchestra and conductor look to the lyrical aspects of the score, though the timpanist would urge them to highlight the dramatic moments. Reliable sound quality from Southwest German Radio, though they continue to include the insipid applause at the end of the many Bad Wildbad performances now on disc. © 2016 David’s Review Corner





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