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David J. Baker
Opera News, November 2015

Royal’s singing has a direct, youthful appeal, with fewer degrees of light and shadow than one often hears, …the bright-voiced lyric soprano is effective in dialogue but more reactive than poised.

Conductor Robin Ticciati, chief at Glyndebourne, keeps the London Philharmonic at a keen pitch, spreading glitter over all. © 2015 Opera News Read complete review



David Denton
David's Review Corner, August 2015

STRAUSS, R.: Rosenkavalier (Der) (Glyndebourne, 2014) (NTSC) OA1170D
STRAUSS, R.: Rosenkavalier (Der) (Glyndebourne, 2014) (Blu-ray, HD) OABD7168D

A zany production from Richard Jones, and an often hilarious performance of Richard Strauss’s opera, Der Rosenkavalier, filmed at Glyndebourne in June 2014. With stylized sets and costumes that look to have been borrowed from Lewis Carroll’s Alice’s Adventures in Wonderland, it’s first act opens with a naked Marschallin taking a shower watched by Octavian, much of the remainder of the act occupied by their sexual relationship. From there in every possible joke is extracted by Jones, as a whirlwind of characters come and go with increasing rapidity, the excellence of singing being the one constant factor in scenes that often descend into mayhem. Looking very beautiful, Kate Royal makes for a young Marschallin as a foil to the middle-aged person that we usually see depicted on stage. In that respect the casting is perceptive and fits more closely with the story, while her voice has a wonderfully fresh and vibrant quality. Conversely Tara Erraught is too shapely to take the part of the young man, Octavian, though when she is supposed to be a young girl teasing Baron Ochs, she has everything going for her. If that’s all very confusing, just blame Strauss! Bring Royal and Erraught together, and you can enjoy some gorgeous moments of duet singing. In having a youngish looking Baron Ochs from Lars Woldt, we probably also come closer to the story than with the usual lecherous old man, Woldt’s voice both agile and, at the appropriate moment, wonderfully sonorous going deep in the register. The remaining cameo roles are uniformly good, with a suitably scheming Valzacchi and Annina from Christopher Gillett and Helene Schneiderman. The young conductor, Robin Ticciati, joins in Jones’s concept with a brisk and lightweight orchestral accompaniment, a very long way from Karajan’s warm opulence that once became the opera’s benchmark. The multitude of bright and outrageous costumes are captured in an excellent film that concentrates on the whole stage rather than on close-ups. For something totally different, this is a Rosenkavalier to make you laugh. © 2015 David’s Review Corner



Simon Thompson
MusicWeb International, July 2015

Kate Royal’s first Marschallin is appropriately luxurious. She grows in stature as the first act develops, climaxing in a gorgeous late duet when she sends Octavian away, full of wistfulness and regret. …Tara Erraught certainly manages some appropriately boyish body language, and she never sounds less than satisfying. Teodora Gheorghiu’s Sophie is gorgeous: sweet, bright and tinkly, but also with bags of personality.

The London Philharmonic Orchestra play brilliantly… Ticciati’s direction is pretty secure for his first production as music director. His pacing is good, and he picks out certain key flecks of colour that bring the score to life… © 2015 MusicWeb International Read complete review



Bradley Winterton
Taipei Times, June 2015

…superb playing [from] the Vienna Philharmonic. It’s worth buying this pair of DVDs for this alone… © 2015 Taipei Times Read complete review





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