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Raymond Tuttle
Fanfare, July 2013

I was immediately pulled in by Ulf Schirmer’s conducting, which is tense, taut, and stylish. In fact, you might not hear a better conducted Sweeney Todd anywhere. The Bavarian Radio Choir also adds much to the success of this performance…their dramatic involvement is high, as is their musicianship.

All of the singing itself is very fine.

So, if you want an operatic Sweeney Todd, or a fresh look at it, this new recording will satisfy. It has many enjoyable moments…This show is one of the masterpieces of American musical theater, and absolutely needs to be heard. © 2013 Fanfare Read complete review

Joshua Rosenblum
Opera News, June 2013

This new recording, with Ulf Schirmer conducting the Münchner Rundfunkorchester, the Chor des Bayerischen Rundfunks and an accomplished cast composed primarily of opera singers, is a mostly very good demonstration of how well the piece can work when approached this way.

Baritone Gregg Baker is elegant and darkly opulent as Anthony; he sounds wonderful…Canadian tenor Pascal Charbonneau…is a marvelously vibrant, clarion-voiced Tobias. Australian tenor Adrian Dwyer as Beadle Bamford is right on the money in “Ladies in Their Sensitivities,” with a winning combination of vocal bloom in his very solid top range and obsequiousness in his characterization. The powerful Trinidadian tenor Ronald Samm, who sings with gleaming tone and ruddy baritonal colorings, is a suitably entertaining Pirelli…

…Rebecca Bottone as Johanna gives a remarkably rich and appealing rendition of “Green Finch and Linnet Bird”…Diana DiMarzio, the Beggar Woman…does impressive, instantaneous transitions between vulgar and soulful, and she widens her vibrato to great effect as the character’s insanity increases over the course of the show.

The Münchner Rundfunkorchester—conducted with sweep, vigor and loving care by Schirmer—plays a major role in the success of this recording; it’s glorious to hear Jonathan Tunick’s landmark orchestrations with a full orchestra, and numerous sequences are downright thrilling because of it. The chorus, too, is in fine shape, and the German accents seem to enhance the drama of the ensemble passages. © 2013 Opera News Read complete review

Cinemusical, February 2013

…the committed and engaging soloists will make this a recording to return to often to appreciate this great piece of musical theater. The release gives us a chance to now hear an important modern work in stunning sound with superb musicianship all around.

Dramatically, it also works quite well as an aural experience…The present release is simply fabulous that most musical theater composers could only dream to hear their work presented in such a superb manner that works more than one might think and is a significant addition to the Sondheim catalogue. © 2013 Cinemusical Read complete review

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