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Jed Distler
ClassicsToday.com, April 2013

…Lettberg enjoys the advantage of a beautifully regulated concert grand and resplendent, lifelike engineering.

…[Lettberg’s] overall consistency, meticulous technique, and total identification with Scriabin’s idiom deserve nothing less than our highest rating. © 2013 ClassicsToday.com Read complete review



Blair Sanderson
AllMusic.com, November 2011

For many years, listeners who wished to own the complete piano works of Alexander Scriabin had little other recourse… Fortunately, Swedish virtuoso Maria Lettberg has recorded all of the published solo piano music for Capriccio, and it is an exceptional offering that fills collectors’ needs admirably. Lettberg has made Scriabin’s music a specialty within her large and varied repertoire, and her performances are consistently insightful, polished, and electric, which places her set among the finest recordings available. Presented on eight CDs with a bonus DVD…and an interview with Lettberg, this trimline box may not look like a deluxe package, but the extraordinary music it contains is priceless. Read complete review



Peter J. Rabinowitz
Fanfare, November 2008

…offering up such a survey is a gutsy way to elbow your way into the catalog. Then again, on the evidence here, Lettberg is a gutsy pianist. These are, for the most part, big, assertive performances, featuring a dark bass-centered tone, a confident technique, a huge dynamic range, and a highly dramatic interpretive outlook anchored in a keen sense of the turbulence of Scriabin’s textural conflicts.

…when she is good, she is very, very good… And even when she is less successful, she never betrays the spirit of the music. The outlines may be smudged, but the composer’s image is always recognizable. © 2008 Fanfare Read complete review




Bryce Morrison
Gramophone, May 2008

…[Maria Lettberg] is for the most part warmly fluent and sympathetic.

How she relishes the violent moodswings of the Op 11 Preludes, music alternately lost in its own delirium or ablaze with pianistic heroics. She understands ideally the Mazurkas where Chopin is made to speak with an increasingly strong Russian accent and she casts a shimmering haze across the necromancy of the late sonatas where, rather like Virginia Woolf’s final and tragic diaries, we are ushered into a painfully self-absorbed world. Here obsessive patterns, harmonies and intervals seem to spin in interstellar space, but Lettberg manages to make sense of an instruction such as tres doux et pur (the Tenth Sonata’s opening) when the mood is cloudy and malignant. © 2008 Gramophone Read complete review on Gramophone





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