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Malcolm Hayes
BBC Music Magazine, March 2018

The super-fluent mild modernism of Krenek’s 1926 opera holds up well in this Salzburg Festival concert performance, with exceptional singing from Dunja Vejzovic´ and Celina Lindsley. © 2018 BBC Music Magazine

David Reynolds
American Record Guide, November 2017

I enjoyed this performance. The music is not easy to grasp at first hearing, and I listened to it several times before committing myself to this review. It helps if one is fluent in German… The performers are all excellent and include some familiar names (Dunja Vejzovic and Ronald Hamilton).

The sound is very listenable, if not world-class. © 2017 American Record Guide Read complete review on American Record Guide

David J. Baker
Opera News, July 2017

Irresistible in her plush tone and expressive variety, Dunja Vejzović probes the role of Eurydike and highlights its many lyrical splendors, …Celina Lindsley is pert and flexible in the light-lyric role of Psyche, while a young Bo Skovhus stands out as the Fool.

Steinberg’s conducting is exemplary for clarity and contrast, especially for maintaining dramatic impetus amid the score’s intricacies. While the chorus takes some time to settle, the ORF-Vienna Symphony Orchestra is rewarding in its consistency. © 2017 Opera News Read complete review

James H. North
Fanfare, May 2017

Croatian soprano Dunja Vejzović’s warm, liquid voice is a godsend for Krenek’s opera, a joy to listen to from first note to last. American tenor Ronald Hamilton is satisfactory as Orpheus, …New Jersey’s Celina Lindsley successfully limns the role of Psyche as a young girl. …the orchestra plays enthusiastically… © 2017 Fanfare Read complete review

Records International, January 2017

Coming from 1926, between his two more notorious operas Der Sprung über den Schatten and Jonny spielt auf, this version of the Orpheus legend was based on Oskar Kokoschka’s expressionist 1915 play which casts the myth as a psychic conflict betweem the lovers. As to the music at times you’ll hear Debussian harmonies, reminiscences of Mahler and atonal passages with leitmotivs for the characters. Krenek said “I wrote the music in feverish haste, as if in a dream” and the work has the character of a fever dream at times verging on horror. © 2017 Records International

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