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Robert A Moore
American Record Guide, May 2017

The performers are satisfactory, and they are joined in one of the longer songs by clarinetist Danny Erdman and in another by cellist Hillel Zori… © 2017 American Record Guide Read complete review on American Record Guide



Göran Forsling
MusicWeb International, March 2017

Sivan Rotem is an experienced singer and she doesn’t over-interpret the songs or try to make them more important than they are. She lightens her tone admirably and avoids as far as possible pressing her lovely voice beyond her limits. Her tone is slightly more vibrant than it was on the previous disc but this is very fine singing indeed. Jonathan Zak, for many years a member of the Yuval Trio, has all the experience to make the most of the piano part and impresses greatly in powerful and virtuoso prelude to Le Voeu pendant l’orage (tr. 9). © 2017 MusicWeb International Read complete review



Hugo Shirley
Gramophone, February 2017

Sivan Rotem’s tremulous, curdled soprano gives little pleasure, …Jonathan Zak’s piano‑playing is decent and often sprightly; the instrumental contributions are fine. © 2017 Gramophone Read complete review on Gramophone



David Denton
David's Review Corner, December 2016

The second disc of songs by Giacomo Meyerbeer contains eighteen works composed for the salons of the wealthy Parisians in the early nineteenth century. Born into an immensely wealthy family in Berlin in 1791, his younger years were spent as a pianist before turning to the composition of spectacular operas on a scale never previously seen on the Paris stage. The remainder of his output is long forgotten and contained this sizeable collection of songs, his background, as a pupil of Carl Zeller, bringing much to his vocal writing. He used a wide spectrum of poets writing in Italian, German and French with the famous names including Thierry, Heine and Goethe. The piano part was mostly used to support the voice rather than adding anything on its own account, and is often repetitive. It would have been well within the range of amateur pianists of the time, and maybe that would have been the dilettante owner of the salon. They range in content and mood from young love to death, and with few songs lasting more than four minutes, they are essentially cameos built from one thematic and lyrical idea, one of the more extended settings, to words by Millevoye, recreating the sadness of Le Poete mourant (The Dying Poet). In the style of Schubert he adds obbligato parts to two songs to add colour, the clarinet being in wistful mode for Hirtenlied (Shepherd’s Song), with the cello adding a feeling of melancholy to Pres de toi. In total, it is an undemanding and often beautiful listening experience, here tastefully presented by the Argentinian soprano, Sivan Rotem. Jonathan Zak is a sensitive piano partner who obviously enjoyed the stormy Le Voeu pendant l’orage. Danny Erdman and Hillel Zori add the clarinet and cello roles. Well balanced sound. © 2016 David’s Review Corner





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