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Choir & Organ, September 2020

This is a generally fine account of a specific version of Messiah. © 2020 Choir & Organ

David Vickers
Gramophone, September 2020

Benedikt Kristjánsson’s gracefully floated messa di voce (‘Comfort ye’) and exquisite appoggiaturas (‘Behold, and see’) make one regret Handel’s 1742 substitution of ‘Thou shalt break them’ for a simple recitative. Tobias Berndt sings the bass version of ‘Thou art gone up on high’ with compassionate serenity, and ‘The trumpet shall sound’ has dignified courtliness.

Rademann’s high-calibre choir delivers nuanced busyness in ‘And he shall purify’, amiable gentility in ‘For unto us a child is born’, solemn beauty in ‘Behold the Lamb of God’ and sure-footed agility in ‘All we like sheep’ (although its conclusion is clumpy). ‘He trusted in God’ has visceral tension and a ripe bassoon. ‘Hallelujah’ tiptoes prancingly (too much so) until it reaches full-throttle exclamations. Unaccompanied passages in ‘Since by man came death’ are tuned and communicated flawlessly, and even bellicose passages in ‘Worthy is the Lamb’ are interwoven lucidly. This skilful performance yields manifold musical insights. © 2020 Gramophone Read complete review on Gramophone

Curtis Rogers, August 2020

…A fresh and lithe reading of the whole score that it certainly strikes the ears anew…

Rademann uses the four named soloists throughout, except to bring alto Tobias Knaus forwards for the well-blended account of the duet version of ‘How beautiful are the feet’. Nevertheless the vocal quartet adopts a generally collegiate and sober demeanour in their delivery. As the soprano, Dorothee Mields, does not enter in this version until the sequence of recitatives beginning ‘There were shepherds’ which she conveys, fresh-toned, with wonder and delight, continuing through to a sprightly account of ‘Rejoice greatly’.

Benno Schachtner projects a more fruitily colourful performance as a male alto. © 2020 Read complete review

Remy Franck
Pizzicato, April 2020

With her light and clear soprano voice Dorothee Mields responds very well to the text and convinces with beautiful, warm singing.

The tenor Benedikt Kristjansson impresses with a beautiful, lyrical and dramatic voice… With his slender voice the bass baritone Tobias Berndt is another youthful and fresh element in this very special interpretation, with its light and smooth textures. To discover the Messiah in such a new way is truly enriching. © 2020 Pizzicato Read complete review

Robert Hugill
Planet Hugill, April 2020

The quirky first, Dublin version of Handel’s masterpiece from a German choir with a long history of performing Baroque music

All four of the soloists cope well with the English language; …throughout they all sing the text with clarity and expressiveness. All four ornament the music, often quite discreetly but effectively.

The orchestra (numbering 20) play with real engagement, I was captured by their overture and throughout I kept noticing some fine detail in the orchestral playing. As with the chorus, Rademann keeps things well articulated and frequently lithe and light, this is not a heavy version of the work but one which matches the youthfulness of the singers’ voices. © 2020 Planet Hugill Read complete review

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