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James Harrington
American Record Guide, May 2016

All [works] give Reyes the opportunity to make use of her wonderful legato touch. The broad range of works offered here is weighted towards ones with long lyrical melodies, simple forms, and basic accompaniments. The 15-minute Fantasy, in three movements, is a virtuosic work with ample opportunity for technical display in brilliant passagework and a lot of quick octaves in both hands. © 2016 American Record Guide Read complete review on American Record Guide




Nicolas Blanmont
La Libre Belgique, March 2016

Beautiful interpretation by [Eliane] Reyes, who serves as the perfect guide on this pioneering journey. © 2016 La Libre Belgique




Jacques Bonnaure
Classica, March 2016

GODARD, B.: Piano Works, Vol. 1 (E. Reyes) GP683
GODARD, B.: Piano Works, Vol. 2 (E. Reyes) GP684

Eliane Reyes, professor at the Royal Conservatory of Brussels, presents this original programme with admirable commitment and embraces a round, powerful and diversified sonority. She is at ease in moments of great velocity as well as in moments of the most delicate harmonic refinements. She also demonstrates humour such as in the Fragment poétique dédié à Hugo, (dedicated to the poet Victor Hugo)… © 2016 Classica



David Denton
David's Review Corner, January 2016

Born in France in 1849, Benjamin Godard’s fatal mistake was to publicly reject the fashionable era of Richard Wagner, and as a composer became a musical outcast. He had been a child prodigy both as a violinist and pianist, and had studied composition at the Paris Conservatoire, his mentor, Henri Reber—who also taught Massenet—probably the originator of Godard’s affection for the musical lineage that had passed through Mendelssohn and Schumann. He was prolific in a life that lasted a brief forty-six years, composing eight operas, orchestral works and piano pieces, many in this latter genre being in the vogue of ‘salon pieces’ and aimed at amateur pianists. The present disc covers over two decades, from the charm of the Fragments Poetiques begun in his teenage years, to the Fantaisie en trois parties completed less than two years before his death. Now we were into the world of music for virtuoso recitals, and hearing this quite extended work, in such a vivacious performance, you wonder why today’s younger generation are missing out on such pleasing and outgoing showpieces. The four Nocturnes come from the ten years beginning in 1882, the genre inexorably linked with Chopin, though in the Second Nocturne we enter the world of popular salon music, that mood set in the disc’s sugary-sweet opening track, Reve Vecu. Equally appealing, whether in music of poetic and lyric beauty or those demanding passages, the Belgium pianist, Eliane Reyes, enjoys a recording of outstanding sound quality. For easy and pleasant listening. © 2016 David’s Review Corner





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