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See latest reviews of other albums..., October 2016

Mozart’s masterpiece seamlessly alternates seriousness and jollity, and combines philosophical ideas with a fairytale world of wondrous animals and magical musical instruments. This inventive new interpretation from director Simon McBurney fuses music, technology and stagecraft in an exciting production for the De Nederlandse Opera. © 2016 Read complete review

Roy Westbrook
MusicWeb International, September 2016

This cast would grace any leading opera house. They are uniformly good at putting the characters across, as well as offering fine singing. Schmitt’s Tamino has the grace and power for that taxing tenor role, and the top notes of the Queen of the Night (Martinez), and the bottom ones of Sarastro (Sheratt), register perfectly, as does the rest of their vocal ranges. …The opera is conducted with brisk but flexible tempi by Marc Albrecht, who on this showing is a very stylish Mozartian, and the Netherlands Chamber Opera play superbly for him. © 2016 MusicWeb International Read complete review

Patrick Dillon
Opera News, June 2015

MOZART, W.A.: Zauberflöte (Die) (DNO, 2014) (NTSC) OA1122D
MOZART, W.A.: Zauberflöte (Die) (DNO, 2014) (Blu-ray, HD) OABD7133D

…the singers all do well enough, with a fine Pamina from Christina Landshamer and dramatically full portraits of the Queen and Sarastro by Íride Martínez and Brindley Sherratt… Marc Albrecht’s conducting follows the pattern set by that overture—crisp and brisk, with the cast occasionally scrambling to keep up. When his musicians all rise for the opera’s final bars, they look happy to be an active part of McBurney’s inclusive show. © 2015 Opera News Read complete review

Mike Ashman
Gramophone, May 2015

MOZART, W.A.: Zauberflöte (Die) (DNO, 2014) (NTSC) OA1122D
MOZART, W.A.: Zauberflöte (Die) (DNO, 2014) (Blu-ray, HD) OABD7133D

This is a people’s Magic Flute which restores the tale’s naive power. It is sparkily conducted in light, historically aware tempi by Marc Albrecht, and acted and sung as a tightly worked ensemble piece. Any artificial glitter in the staging (visual or dramatic) has been left to one side in favour of personal relationships—ideal for this opera. © 2015 Gramophone

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