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Charles H Parsons
American Record Guide, July 2017

The singers are a mixed bag. Best of the lot is Dell’Oste treading the light fantasic of Aricia’s coloratura. Milanesi is suitably impassioned, her voice acceptable. …The Catanian orchestra plays well. © 2017 American Record Guide Read complete review on American Record Guide



Bill White
Fanfare, May 2017

The role of Ippolito, written by Paisiello for castrato, is performed quite attractively by coloratura soprano Caterina Poggini. Some of her music even sounds a bit like Mozart (whose own work was influenced by Paisiello). Also quite good is Artavazd Sargsyan in the role of Teseo. The Fedra here of Raffaella Milanesi provides some nice moments, particularly in her act II aria “Vuoi dar morta a chi t’adora.” …The Overture to Fedra, played quite satisfactorily by the local opera house orchestra, also provides some suggestive links to Haydn and Mozart. Choral work is at times a bit ragged, but Paisiello’s choruses themselves are pleasantly attractive. © 2017 Fanfare Read complete review



Göran Forsling
MusicWeb International, February 2017

Jérôme Correas, himself a former bass-baritone and early member of William Christie’s Les Arts Florissants, chooses sensible tempos and draws some dramatic playing from his orchestra and the chorus. It’s not on the level of their colleagues from more prestigious houses but they do an honourable job. The soloists negotiate their roles worthily and in particular in the second act there is a great deal of good dramatic singing. Raffaella Milanesi in the title role and Anna Maria Dell’Oste as Aricia deliver their solos with great conviction. Artavazd Sargsyan as Teseo is excellent in the long scene in act II (CD 2 tr. 11-13) but the best singing per se we get from Caterina Poggini’s Ippolito.

Fedra is no masterpiece but it is a worthy attempt and this recording is a valuable addition to the growing catalogue of more or less forgotten operas. © 2017 MusicWeb International Read complete review



Richard Lawrence
Gramophone, January 2017

Jérôme Correas makes a good case for the opera, with neat playing from the orchestra. The soloists are variable: the best is Anna Maria Dell’Oste, bright and accurate in Aricia’s coloratura. Caterina Poggini matches her well in the opera’s only duet. Raffaella Milanesi is impassioned in Phaedra’s first aria, reminding one of Elettra in Idomeneo, while Artavazd Sargsyan sounds suitably angry in ‘Va t’invola’. © 2017 Gramophone Read complete review on Gramophone





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