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Robert Farr
MusicWeb International, November 2018

Like most opera lovers I have my favourite composers and operatic works. High on my list are Verdi and Mozart. There are often multiple productions of most of their compositions available on film. However, in this work, few manage truly to represent the composer’s intentions, with its unique challenges. This staging, and performance, by Producer David McVicar, Designer, Vicki Mortimer under Conductor Robin Ticciati achieves near perfection. It was one of only two recordings this year that I gave my imprimatur of Recording of the Month. © 2018 MusicWeb International

Robert J Farr
MusicWeb International, October 2018

I find the conducting by the flying fingers of conductor Robin Ticciati, and his period band forces, to be ideal accompanists throughout, as well as bringing an appropriate verve and vitality to the proceedings. © 2018 MusicWeb International Read complete review

David J. Baker
Opera News, December 2016

Soprano Sally Matthews keeps up valiantly with Konstanze’s tortuous lines; while inconsistent in tone, she makes dramatic sense of the pyrotechnics. The camera always finds her appropriate and appealing, while she projects the spoken lines immaculately. American tenor Brenden Gunnell, also fast and fluent in speech, steals scenes as a tireless Pedrillo and sings almost too elegantly for his buffo assignment. Mari Eriksmoen’s sparkling Blonde and Tobias Kehrer’s somewhat youthful Osmin are reliably antic. © 2016 Opera News Read complete review

Clive Paget
Limelight, November 2016

Robin Ticciati conducts the period Orchestra of the Age of Enlightenment with style and verve. Sally Matthews is a noble-voiced Kostanze, secure of coloratura. Martern aller Arten, set dangerously in the Pasha’s bedroom is electric. Edgaras Montvidas is slightly open-toned as Belmonte, but captures the prig who thinks shouting makes foreigners understand him better. Tobias Kehrer is a magnificent Osmin, a vocal dead ringer for Gottlob Frick, perfectly matched by Mari Eriksmoen’s cheeky Blonde. Franck Saurel is a smouldering Pasha, making Kostanze’s ultimate choice a bit of a tragedy. McVicar’s fidelity to Mozart’s score raises this Entführung to the level of Così. © 2016 Limelight Read complete review

Richard Sininger
American Record Guide, November 2016

Robin Ticciati leads the Glyndebourne Chorus and the Orchestra of the Age of Enlightenment; the tempos are right, and the orchestra plays expertly. The best singing comes from the two extremes—Konstanze and Osmin. Sally Matthews seems to have no trouble with Konstanze’s difficult coloratura; …As Osmin, Tobias Kehrer reveals a wonderful dark bass that should keep him employed in the German bass repertoire for a long time. …Though somewhat older than most Pedrillos, Brenden Gunnell sings quite well and displays lots of dramatic energy as the wily servant. Edgaras Montvidas…sings and acts well as Belmonte. As Blonde, Mari Eriksmoen pulls off her comic scenes with skill and sings generally well, …Franck Saurel brings out all the elements of the Pasha’s character. © 2016 American Record Guide Read complete review on American Record Guide

Richard Lawrence
Gramophone, August 2016

This is such an enjoyable production of Mozart’s Turkish opera…

Edgaras Montvidas acts rather better than he sings. His Belmonte is ardent, impatient and, at the end, utterly chastened. …Sally Matthews sings superbly… © 2016 Gramophone Read complete review on Gramophone

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