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Penguin Guide, January 2009

Segerstam proves a strong, thrusting interpreter, tautly holding the drama together, with the impact heightened by the vividness of the live recording. There are stage noises too, but the magnetism of the performance and the consistency of the singing with no weak member of the cast quickly make you forget any slight flaws. Though the Sprechstimme (‘sing-speech’) is sometimes free—again not surprisingly—the great merit of all the singers is their musicality, with the Captain and the Doctor less caricatured than usual, and with a firm, central account of the title-role from Carl Johan Falkman. Katarina Dalayman is also superb as Marie, singing with character as well as beauty. A detailed synopsis is provided in the booklet and a complete libretto in German but no translation. An excellent issue which, at the Naxos price, should tempt collectors to experiment with a challenging work that in a performance like this is deeply moving.

R.D, June 2002

"The Stockhom Royal Opera production of Y2K on Naxos offers only a world-class Marie by Katarina Dalayman. With score in hand, Leif Segerstam's conducting is meticulous."

T, Hashimoto
San Francisco Examiner, May 2002

"Here comes Naxos to the rescue with yet again the top choice at a bargain price...Those who don't call this an affecting score aren't listening."

Clive Portbury
BBC Music Magazine, May 2002

"Katarina Dalayman as Marie is less earthy than most, stressing the lyrical aspects of the role to good effect. Carl Johan Falkman is a sympathetic Wozzeck, bringing out the elements of nobility in the character. Leif Segerstam cuts a swathe through the dense polyphony and the lurid orchestration." Performance/Sound *****

Robert Levine, April 2002

"Well-sung and characterized, handsomely played, and priced-to-sell."

Michael Oliver
Gramophone, March 2002

"This comes close to being a giant-killer among Wozzeck recordings; I have a few reservations but I admire this new version greatly and recommend it heartily... Carl-Johan Falkman's singing of the role is... remarkable -- few Wozzecks are as frightening as he is in the scene after the murder... Leif Segerstam's handling of the score is admirably pointed and flexible... [Katarina Dalayman's] is the finest performance here, vehement and characterful but beautifully sung... I cannot imagine anyone who loves this opera being disappointed by this newcomer; at its price the phrase 'super bargain' hardly does justice to it."

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