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Paul L. Althouse
American Record Guide, July 2019

This performance of the Mass, recorded in a 2018 concert, is in traditional style, that is to say with a fairly large chorus (about 65) and orchestra. The work is generally considered “Haydnesque” because it was commissioned in 1807 by Prince Nikolaus II, Haydn’s patron.

The filler work is the third Leonore Overture, written for the second version of Leonore in 1806. Eventually there was a fourth overture, which became attached to the opera when it was renamed Fidelio. The performance here also comes from a concert, though not the same one as the Mass. It is very well done with no surprises, and the beginning of the coda…is clean and exciting. © 2019 American Record Guide Read complete review on American Record Guide

BBC Music Magazine, April 2019

Thrilling playing and solid singing from a reliable crack team—the superb recorded sound brings Beethoven’s liturgical work to almost operatic life. © 2019 BBC Music Magazine

Michael Cookson
MusicWeb International, March 2019

Jansons has selected an impressive quartet of soloists: soprano Genia Kühmeier, alto Gerhild Romberger, tenor Maximilian Schmitt and bass-baritone Luca Pisaroni. The quartet generally manage to keep their operatic sensibilities under wraps and concentrate on the reverential aspect of the text (not always the case in performances of this work). The Salzburg-born Kühmeier excels with her eagerly radiant and fluid tone. Romberger, a German, is in splendid form, too; her distinctive voice projects strongly with purity. Schmitt, also a German, shows clarity and precise enunciation…

Overall, I admire these live Munich recordings for the unity of purpose: Jansons performances are characteristically lucid and buoyant with no shortage of drama. © 2019 MusicWeb International Read complete review

Nalen Anthoni
Classical Ear, February 2019

Jansons is aware of the emotions running through the work but is perhaps more attuned to its lyricism than its drama. His conducting of the Agnus Dei from a Poco Andante beginning in C minor to an Allegro ma non troppo in C major at the words Dona nobis pacem, the transition bridged by a four-bar clarinet solo, speaks a lot for his artistry. And it is not one that baulks at histrionics either, as a powerfully theatrical Leonora 3 Overture testifies. © 2019 Classical Ear Read complete review

Remy Franck
Pizzicato, December 2018

Taken from the concerts for Mariss Jansons’s 75 birthday, the recording of Beethoven’s C Major Mass as well as the Overture Leonore No. 3 are heard in excellent performances. The soloists and the orchestra are very good, but it is the chorus which steals the show. The richness and the bright eloquence of the choral sound is pure joy. © 2018 Pizzicato

Lynn René Bayley
The Art Music Lounge, December 2018

I was particularly pleased by the singing of the Bavarian Radio Chorus, which gives us an exceptional ensemble blend, along with incisive rhythmic accents…

Jansons gives us a very Toscanini-like performance, with a dramatic, forward thrust and emphasizing the astringent texture of the wind passages. © 2018 The Art Music Lounge Read complete review on American Record Guide

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