Classical Music Home

Welcome to Naxos Records

Keyword Search
 Classical Music Home > Naxos Album Reviews

Album Reviews

See latest reviews of other albums...

Michael Cookson
MusicWeb International, January 2015

This Italian repertoire especially suits Alieva who displays her creamy, dusky-hued, fluid, lyric tones to best advantage. How impressively she demonstrates her feeling for the words. Marcello Rota and the Czech National Symphony Orchestra contribute greatly with thoughtful and sensitive playing. The sound is warm, clear and well balanced. © 2015 MusicWeb International Read complete review

George Hall
Opera, December 2014

Opera Arias (Soprano): Alieva, Dinara - VERDI, G. / PUCCINI, G. / CATALANI, A. / CILEA, F. / LEONCAVALLO, R. (Pace, mio Dio) DE3462
Vocal Recital: Alieva, Dinara - RACHMANINOV, S. / TCHAIKOVSKY, P.I. / RIMSKY-KORSAKOV, N. (Russian Songs and Arias) 8.572893

These two CDs exemplify the art of the Azerbaijani soprano whose reputation in mainland Europe, in particular, has risen concurrently with a succession of international competition successes.

Alieva clearly has a lot going for her. Further, she is one of those vocalists who sing perfectly in tune, doing so here throughout a wide repertory and with an unflawed loveliness of tone even in heavier material…She is unfazed by the music’s technical demands, and there is no sense of strain as she goes for and holds high notes; throughout, her soprano retains its fleshy quality and liquid surface.

Particularly impressive are ‘Un bel di’, with its resilience as well as its grateful and stylish use of portamento; her vibrant, wine-dark tone in ‘Ebben? Ne andro lontana’, whose inherent melancholy she explores imaginatively; and her realization of Nedda’s life-hungry attitude in the Pagliacci ballatella.

She adds some bite to the tone for the Russian repertory, which arguably suits her even better. There’s an incipient hysteria to her two extracts as Lisa in The Queen of Spades that rises to desperation in the second. Considerable acting skills inform her interpretation of Marfa from Rimsky-Korsakov’s The Tsar’s Bride, which also show the tonal depths of her instrument, and there’s a soaring quality to the solo from Rachmaninov’s Francesca da Rimini; but for sheer loveliness, the same composer’s Vocalise is hard to beat, its blend of gentleness and regret perfectly captured. © 2014 Opera

Edward Greenfield
Gramophone, July 2014

What is remarkable about all of Alieva’s singing is her depth of feeling, conveyed without exaggeration, from the heart. It is not surprising that such divas as Montserrat Caballé and Teresa Berganza speak of Alieva with such warmth. This really is an exceptional soprano recital which should bring the name of Dinara Alieva to new prominence. © 2014 Gramophone Read complete review on Gramophone

Robert J Farr
MusicWeb International, June 2014

…this calling-card CD provides an opportunity to hear Azerbaijani soprano Dinara Alieva in a variety of well known lyric and lirico-spinto roles from mainstream Italian repertoire.

We start with the act 1 coloratura showpiece arias Eh strano and the cabaletta Sempre libera from La Traviata. What is immediately obvious that she is no tweety coloratura. Her voice is full, warm and well-coloured which alongside good diction enables to characterise the words and their emotions superbly…

In the extracts from Puccini’s operas that follow, Alieva tackles the diverse demands of the lyric O mio babbino cara from Gianni Schicchi (tr.4), Magda’s Chi il bel sogno di Doretta from La Rondine (tr.6) and Liu’s gentle Tu che di gel sei cinta from Turandot (tr.7), all with gentle full-toned phrasing and good expression. However, it is in the demands of Tosca’s Prayer (tr.5) and Cio-Cio San’s despairing Un bel di (tr.5) that her warm voice soars whilst bringing a level of emotion and expression that really impresses. She sails through the lesser-known demands of Cilea and Puccini’s near neighbour and contemporary, Catalani, with similar skill.

Here is a possible worthy successor to some of the greats.

The recording is good…with Marcello Rota and the Czech National Symphony Orchestra giving idiomatic support. © 2014 MusicWeb International Read complete review

Robert Levine
Listen: Life with Classical Music, June 2014

Azerbaijani Dinara Alieva has a grand sound: rich and full in the middle, and rock-solid…at the top. Her “Ah, fors’é lui” is lovely and sung with a nice sense of legato; the letter reading before “Addio del passato” is moving without exaggeration. Leonora’s two arias from Trovatore are beautifully handled…“Pace, pace mio Dio” is a gem—it’s rare to hear it so thrillingly performed, with most of the dynamics in place. © 2014 Listen: Life with Classical Music Read complete review

Phil Muse
Audio Video Club of Atlanta, April 2014

In her debut album, “Pace, mio Dio,” Azerbaijani soprano Dinara Alieva lends her gorgeous voice to a choice selection of Italian arias. With the support of the Czech National Symphony Orchestra under Marcello Rota, she indulges the listener with well-loved arias by Verdi, Puccini, Catalani, Cilea, and Leoncavallo. Her voice has conviction and sensual beauty to spare, and she possesses the ideal temperament to convey the wide range of opera’s greatest heroines. © 2014 Audio Video Club of Atlanta Read complete review

Mary Kunz Goldman
The Buffalo News, March 2014

Alieva’s voice is a pleasure, strong and flexible with just the right hint of darkness, and a great sensitivity of phrasing. She is stunning in how she picks dazzling high notes out of the air and holds them with no apparent effort. The able conductor is Marcello Rota… © 2014 The Buffalo News Read complete review

Naxos Records, a member of the Naxos Music Group