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David Shengold
Opera News, November 2018

His [Strobel] edition seems to use all the music written for possible inclusion in the film, even parts that appear in the film only in snatches. He gets expansive playing from his Munich forces. The cello and bass work, both solo and in section, is outstanding, and the sometimes almost circus-like percussion writing gets its due—with one major caveat. © 2018 Opera News Read complete review



Robert Cummings
MusicWeb International, August 2018

…The Strobel set wins, not least because it is “more complete” than the Fedoseyev or Polyansky. I should mention in total fairness that Polyansky also includes a fine version of Prokofiev’s wartime choral work Ballad of an Unknown Boy in his set, making it preferable to the Fedoseyev. All three Ivans offer fine performances and have very talented soloists in the singing roles. © 2018 MusicWeb International Read complete review



David Gutman
Gramophone, June 2018

…The chorus is placed in a suitably resonant acoustic for the Orthodox liturgical element curtailed in rival accounts and Marina Prudenskaya, fresh from her Royal Opera House debut as Azucena (Il trovatore), has a deep-pile, obviously Slav instrument. Like the more familiar Muscovite bass, Alexander Vinogradov, she seems perfect casting. © 2018 Gramophone Read complete review on Gramophone




Steven A. Kennedy
Film Score Monthly, February 2018

The recording is simply stunning, with the choral work standing out in particular.

Soloists Marina Prudenskaya and Alexander Vinogradov are excellent, as is the Berlin Rundfunk chorus and orchestra. © 2018 Film Score Monthly Read complete review





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