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Mike Ashman
Gramophone, January 2014

As recorded and balanced…there is no audible sign that this not-so-mini Tristan of a role is too heavy for Klaus Florian Vogt’s tenor, while Camilla Nylund’s Marietta/Marie…is in dream form, untiring, concentrated, rapturous of tone. A huge achievement. The orchestra encompass this far from easy…score with great panache for their chief. This…release is undoubtedly a musical triumph. © 2014 Gramophone Read complete review on Gramophone

David Denton
David's Review Corner, October 2013

Erich Korngold was still twenty-three when in 1920 he completed the opera, Die Tote Stadt, the high point of his career before selling himself to Hollywood films. Even to a highly experienced composer the scenario…would have been difficult to handle. It is certainly not an easy opera to produce, and Kasper Holten has achieved much for the Finnish Opera in bringing a reality to the story. I suppose in many ways it offered a foretaste of the great film composer in showing how music can heighten our emotions, the final scene where Paul says good-bye to the ghost of Marie is truly heartbreaking moments in opera…it is a strongly visual opera, and here, with its fine vocal cast, it is superbly presented. In Klaus Florian Vogt we have a fine heldontenor to bring an heroic quality to the vocal part of Paul, and a superb singer-actress in Camilla Nylund as the flighty Marietta. The eight remaining members of the cast are excellently sung cameo roles…In the silent part of Marie’s ghost, Kirsti Valve adds much to our tears…The Orchestra of the Finnish National Opera…add all of the required opulence to the backdrop, Mikko Franck’s conducting taking the work at a pace that every word and action is perfectly delineated. The film crew and audio team have produced exceptional quality, the whole package among my top twenty opera videos. © David’s Review Corner

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