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Jeff Rosen
American Record Guide, September 2016

The first singer embodies great Verdi singing: Leontyne Price doing ‘Surta e la notte Ernani! Ernani! Involami!’, …Price commands the material, with glorious chest tones.

Croatian soprano Sena Jurinac, who performed Elisabetta under Karajan at Salzburg, delivers a penetrating performance of the conflicted queen’s fourth act scena.

The singers are well supported by the Munich Radio Orchestra, under eight different conductors. © 2016 American Record Guide Read complete review on American Record Guide




Simon Thompson
MusicWeb International, April 2016

[Bergonzi] has a beautifully lived-in voice… [Anneliese Rothenberger’s] Violetta sounds fantastic here, growing in reckless abandon as the aria progresses. © 2016 MusicWeb International Read complete review




Francis Muzzu
Opera Now, March 2016

There is glorious tenorial outpouring from José Carreras (Il Corsaro) and Neil Shicoff (Ernani), and a masterclass in elegance from Carlo Bergonzi in the aria from Il trovatore. His good work is somewhat undone by Franco Bonisolli who sings the ensuing cabaletta, and certainly doesn’t let good taste or consonants spoil a fun time; he is the only tenor I’ve ever heard who sings the variant high C in the first verse as well as the second—I suppose if you’ve got it, flaunt it. Renato Bruson’s baritone steers us back to decorum with a finely traced ‘Di Provenza’. © 2016 Opera Now



Richard Fairman
Gramophone, March 2016

José Carreras smoulders with Mediterranean ardour in Il corsaro. In Rigoletto, by contrast, Nicolai Gedda’s Duke is playful, feather-light, charismatic, everything but idiomatic. Neil Shicoff is more convincingly Italianate in Ernani, Arleen Auger less so as a strangely dreamy Oscar in Un ballo in maschera. The appealing Anneliese Rothenberger brings personal touches, including some inventive rhythms, to Violetta’s scena from La traviata. …Margaret Price floats some beautiful sounds at the expense of an oddly un-Italianate chest register as Aida. …Julia Varady a subtle Lady Macbeth of impressive resource, Vladimir Atlantov an Otello of searing metallic power and no small sensitivity. Conductors, orchestral standards and recording quality are variable. The voices, though, are all worth hearing. © 2016 Gramophone Read complete review on Gramophone



Michael Cookson
MusicWeb International, February 2016

…[Patané] demonstrates a real affinity for Verdi. Throughout these satisfyingly paced recordings the orchestra appear eminently focused and well prepared.

Relishing every second of this captivating and treasurable album from some of the finest Verdian performers of their generation, my appetite has been whetted to hear even more recordings from the archive of Bavarian Radio. © 2016 MusicWeb International Read complete review





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