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Marie Langrishe
BBC Music Magazine, October 2016

Anne Schwanewilms’ tone is beautiful and expressive… © 2016 BBC Music Magazine

Erin Heisel
American Record Guide, September 2016

The Schreker are lovely, harmonically interesting, delicate pieces. In contrast, the Korngold are a little fuller, harmonically and vocally, and give Schwanewilms a chance to show off her rich legato. The juxtaposition of Schubert with Schreker and Korngold brings plenty of variety and color. © 2016 American Record Guide Read complete review on American Record Guide

Tim Ashley
Gramophone, September 2016

…with Charles Spencer as accompanist, Anne Schwanewilms offers a programme of songs by Schubert, Schreker and Korngold that tackles complex themes of transience, disappointment and regret in the pursuit of elusive ideals of beauty. © 2016 Gramophone Read complete review on Gramophone

Göran Forsling
MusicWeb International, August 2016

…with Charles Spencer at the piano, Anne Schwanewilms partnered songs by Liszt and Mahler in a very satisfying recital.

…Her voice encompasses all the requirements for intimate lyrical songs as well the big dramatic outbursts and her tone is certainly among the most beautiful to be heard today. She has a pliable accompanist in the experienced Charles Spencer and the recording is excellent. © 2016 MusicWeb International Read complete review

Charles T. Downey
The Washington Post, July 2016

Schwanewilms writes in her booklet note. “Schubert leads the voice on a silken thread.” For the most part, she is able to walk that silken thread, deploying a dark-hued, low range for the creepy part of Death in “Death and the Maiden” and floating the top notes in the tender, slow “An den Mond” (D. 296). …Spencer, a veteran accompanist, is self-effacing at the keyboard, but he adds pleasing touches, such as a tolling bell in “Die junge Nonne,” about a monastic novice fearful as a storm passes over her convent. © 2016 The Washington Post Read complete review

Robert Hugill
Planet Hugill, June 2016

Anne Schwanewilms has a very specific sound to her voice, with a bright yet expressive sense of spun silver to it. For all the profound beauty of her voice, she does not rely simply on its timbral qualities. One of the joys of the disc is the way she brings a sense of the expressive text and a feeling of exploring all the expressive options. Charles Spencer makes a fine partner, complementing her performance with superb pianism. I was repeatedly struck by how the piano tone was caught in many of the songs, giving it a sweet warmth and expressive tone without any of the glassy hardness which can often creep in to even the best recordings. © 2016 Planet Hugill Read complete review

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