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Karl Lozier
Positive Feedback Online, June 2015

This powerful work does impress and strong passages use the lower strings and not violins in the beginning. I highly recommend this great work. It is not particularly religious as are the Requiem masses and the great choruses are powerful and very effective and well recorded… © 2015 Positive Feedback Online Read complete review

Rob Cowan
Gramophone, July 2014

A fine-sounding, sensitively paced German Requiem with good, fairly chaste choral singing and an especially impressive baritone in Thomas E. Bauer. © 2014 Gramophone Read complete review on Gramophone

Steven Ritter
Audiophile Audition, May 2014

There have been many wonderful recordings of this work over the years. I’ve kept only a few, the classic Klemperer, Ormandy’s taut and quick English version, Levine’s fairly recent traversal with the Boston Symphony, and perhaps my favorite, Karajan’s EMI recording, which to me is the most spiritual of the lot. I think we can add this one to the list, though it is on the expansive side, most likely because the forces are quite large. But the ethereal and otherworldly nature of “Selig sind” in the beginning is magnificent, and when the power and fervency needed in “Denn wir haben” is called for, nothing is lacking. Both soloists are wonderful as well, and the whole enterprise smacks of something of a milestone in recorded art for this composition, as the surround sound is extremely spacious, deep, and very warm with great dynamic range. This is a recording to live with for a long time, and audio fans in particular will have to have it. © 2014 Audiophile Audition Read complete review

Robert Cummings
Classical Net, May 2014

As you would expect from veteran Polish conductor Antoni Wit, Brahms’ music here is phrased sensitively and with the utmost attention to detail and to proper vocal and instrumental balance…the singing of the two soloists, soprano Christiane Libor and baritone Thomas E. Bauer, is thoroughly convincing. Libor has a ravishingly beautiful voice and knows how to use it; Bauer’s rich baritone voice is resplendent and his sense for drama…is admirable. The chorus sings with total commitment throughout as well and Wit draws splendid playing from his Warsaw Philharmonic Orchestra. The sound reproduction is clear and well balanced… © 2014 Classical Net Read complete review

Jean-Yves Duperron
Classical Music Sentinel, May 2014

Every time you have a recording project that combines conductor Antoni Wit, the Warsaw Philharmonic Orchestra and Choir and the Naxos label, the end result is magic. Add to this the fact that this 24-bit, Stereo and Surround High Definition Blu-ray recording lets you hear the air around the singers and musicians, and feel the three-dimensionality of the space they occupy, and you can actually grasp the depth and scope of the forces involved in this performance. When the Requiem ends, I feel as if I’ve just witnessed, and been part of, a solemn occasion and special event. Enough said! © 2014 Classical Music Sentinel

David Denton
David's Review Corner, April 2014

BRAHMS, J.: Deutsches Requiem (Ein) (Libor, T.E. Bauer, Warsaw Philharmonic Choir and Orchestra, Wit) 8.573061
BRAHMS, J.: Deutsches Requiem (Ein) (Libor, T.E. Bauer, Warsaw Philharmonic Choir and Orchestra, Wit) (Blu-Ray Audio) NBD0039

Unusual for Naxos, we have a third recording of Ein deutsches Requiem, the second one, conducted by Marin Alsop in Leipzig, only being released last August. Indeed this new version is one of the most spacious placed on disc, Wit looking for its religious connotations that allows the music to unfold in long spans of unhurried phrasing. He does have the benefit of a very refined choral sound that sustains the quiet beauty of the opening Selig sind, dia da Leid tragen. Yet when required they have the weight and drama for Denn alles Fleisch, es ist wie Gras, the sopranos providing ample power…Wit thankfully does not linger in their following Wie lieblich sind deine Wohnungen (How lovely are thy tabernacles). The release is then made special by the choice of soloists, Thomas Bauer’s baritone being smooth and generous in quantity, while Christiane Libor brings her operatic background to the fifth movement. Wit now joins the wealth of distinguished accounts in the ‘traditional’ mode that are already in the catalogue, and he also has a Blu-ray version that offers those now familiar virtues of transparency, with abundant impact in the second and sixth movements. © 2014 David’s Review Corner

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