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Huntley Dent
Fanfare, March 2017

Jarnot interprets each song in a style that’s natural and musical. He avoids exaggeration, and this clean, clear approach works well. The ultimate interpretative skill isn’t present, but I’m grateful to hear a singer of such marked quality. Dramatic soprano Adrianne Pieczonka is a major opera star, especially in Europe, but she’s experienced in Lieder too. Because the voice is sizable, Pieczonka sounds heavier than what we’re used to in “Marietta’s Lied” from Die tote Stadt, but it’s a glamorous voice, which counts for much.

Pianist Reinild Mees provides satisfying accompaniments, and the recorded sound is fine. © 2017 Fanfare Read complete review

Ian Lace
MusicWeb International, December 2016

This 2-CD set claims its 60 songs provide a complete Korngold song collection. Baritone, Konrad Jarno imbues each song with intelligence, imagination and colour and has the gift of ‘acting’ the gist of the words. © 2016 MusicWeb International

Martin Anderson
Fanfare, November 2016

…[offers] one masterpiece after another: There is not a weak bar in sight, and all of it glows with Korngold’s unique ardent lyricism. © 2016 Fanfare Read complete review

Jed Distler, November 2016

For all of her power and solidity, Adrianne Pieczonka’s accented English yields to Otter’s impeccable diction throughout the Op. 31 Shakespeare Songs, but the great first-act aria from Korngold’s Die tote Stadt (“Gluck, das mir verblieb”) reveals this singer’s warmer, tender side. Reinild Mees is more than just a collaborative pianist, she’s a musicianly virtuoso. Nothing fazes her: not the thicker orchestrally-oriented keyboard writing, nor the unwieldy runs and contrapuntal commentaries. © 2016 Read complete review

Raymond Beegle
Fanfare, May 2016

Jarnot’s colleague Adrianne Pieczonka sings her few songs with great beauty of voice and admirable style. Their pianist, Reinild Mees, does a heroic job with the considerable challenges of these 60 songs. © 2016 Fanfare Read complete review

Robert A Moore
American Record Guide, May 2016

The first disc is a collection of dreamy and sumptuous post-romantic songs; the second includes more of that but contains mostly music for movies and special occasions like birthdays and anniversaries. That is music Korngold is best remembered for, but the first gives us the music lovers of post-romantic lieder will want to remember him by.

…it is enough simply to listen to Jarnot’s supremely beautiful voice, which he uses with such grace. This is a recording I don’t want to stop listening to. © 2016 American Record Guide Read complete review on American Record Guide

David Gutman
Gramophone, January 2016

…Capriccio’s project must be judged a major success.

Strongly recommended and an important step in the composer’s rehabilitation. © 2016 Gramophone Read complete review on Gramophone

Ian Lace
MusicWeb International, December 2015

Jarnot has real presence with impeccable diction. He imbues each song with intelligence, imagination and colour and has the gift of ‘acting’ the gist of the words.

Throughout Reinild Mees provides consistently fine unobtrusive but nicely nuanced accompaniments. Her contribution again and again lifts the artistic value of this excellent set. © 2015 MusicWeb International Read complete review

Stephen Smoliar, November 2015

…[Korngold’s] approaches to Shakespeare are impressively stimulating. He never slavishly follows Shakespeare’s rhythms or draws attention to how the lines rhyme. Instead, he understands what the words are trying to say and shapes his music around their “semantic intent.” © 2015 Read complete review

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