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Stephen Francis Vasta
MusicWeb International, April 2019

In both works, the orchestra plays well… In the symphony, the horns’ firm contributions are particularly impressive—they occasionally emerge in spots where they’re usually buried, or obscured—and, as the lower strings join the violins in the finale, they are impressively resonant. © 2019 MusicWeb International Read complete review

Ken Meltzer
Fanfare, September 2016

The orchestra plays throughout with a gorgeous tonal quality and the kind of ideal balance and blend of strings, woodwind, and brass that is a hallmark of the finest European ensembles. …the artists explore a marvelous plasticity of phrasing, producing an ebb and flow in the tradition of past great Bruckner interpretations. The musicians also demonstrate a keen understanding of the crucial role of pauses within a movement, both in terms of dramatic flow and suggestion of the resonant cathedral ambience central to Bruckner’s musical language. © 2016 Fanfare Read complete review

Christian Hoskins
Gramophone, September 2016

…Cornelius Meister’s account of the Mass No 3 is well prepared and imaginatively paced. With dynamic markings scrupulously observed and disciplined choral singing, the work’s quieter passages sound especially luminous. …Meister’s coupling is a performance of Symphony No 9 in its traditional form without the finale. …the performance is warmly expressive and spontaneous, although not especially heaven-storming. © 2016 Gramophone Read complete review on Gramophone

Steven Kruger
Fanfare, July 2016

Cornelius Meister is new to me. But this 36-year-old Hanover-born conductor and his Vienna Radio Orchestra are lovingly at home in Bruckner.

It’s all done well overall, and the Vienna Singakademie performs with polish and beauty.

This CD is a winner. © 2016 Fanfare Read complete review

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