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Richard Kraus
MusicWeb International, October 2016

…[Jessica Pratt] has the power to make an impact, as well as the agility to keep Joan’s part interesting. She is not asked to do anything extraordinary as an actress, but conveys a fine sense of Joan as militant, confused, and vulnerable. …Jean-François Borras is an excellent Charles VII. His voice is rather sweet-toned, but he can provide regally ringing tones when appropriate.

Veteran conductor Riccardo Frizza knows how to maximize the best moments, mostly by keeping things moving at a brisk pace. © 2016 MusicWeb International Read complete review

Richard Sininger
American Record Guide, September 2016

The orchestra and chorus perform well under Riccardo Frizza.

The one reason to own this set is the British-Australian soprano Jessica Pratt as Joan. Ms Pratt, a handsome young woman, has a voice of great beauty and power and enough coloratura to make one begin to make comparisons with another great Australian singer. No, Ms Pratt is not a “new Sutherland”, but she is a very gifted soprano who is deservedly becoming one of opera’s biggest names. © 2016 American Record Guide Read complete review on American Record Guide

Joel Kasow
Fanfare, September 2016

All three principals give rousing performances but are not short on nuance when necessary. Conductor Riccardo Frizza leads a no-holds-barred performance, once or twice relenting for one of those magical Verdian moments. © 2016 Fanfare Read complete review

Patrick Dillon
Opera News, August 2016

Jessica Pratt (Giovanna) and Jean-François Borras (Carlo) don’t have typically Verdian voices; they’re both light, …But both are still very enjoyable: he’s sweet and stylish, and she shapes her music with her usual elegance and care—and tosses in an unwritten high note whenever the opportunity arises. They’re committed actors, too, …Riccardo Frizza is the sure-footed conductor. © 2016 Opera News Read complete review

Janos Gardonyi
The WholeNote, April 2016

…[the] main strength is English-born star soprano Jessica Pratt in the spectacular title role having all the vocal requisites, especially in her ringing high registers. She has become famous in Rossini repertoire and this is probably her first Verdi role, so she is severely tested in the physical and emotional intensity a Verdi heroine demands. An exciting, radiant young tenor, Jean-François Borras is energetic and passionate, ideal for Charles VII. © 2016 The WholeNote Read complete review

Patrick Mack
Parterre Box, April 2016

The Orchestra Internazionale d’Italia is led by Riccardo Frizza, who prompts a compelling and spirited rendition of the opening Sinfonia. He keeps things moving with the full fire of post-Donizettian vigor throughout the evening and offers lively tempos balanced with a keen eye to stewarding his singers and chorus through the sometimes tricky rhythms the young Verdi employs.

The Orchestra does a highly professional job of meeting all of Verdi’s challenges with good pizzicato strings when called for and exceptional work from the woodwinds when they represent Giovanna’s “angels/demons”. © 2016 Parterre Box Read complete review

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