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Australian Hi-Fi, August 2017

Die Entfuhrung aus dem Serail (The Abduction from the Seraglio) was not intended to give a realistic account of Muslim Turkey. In it Mozart explores his greater Masonic ideals of brotherhood and peace and creates a would-be comedy that provokes serious thought. Konstanze (Sally Matthews), doesn’t disguise her temptations to give in to the Pasha’s advances, but remains firm in her resolve and dignity. Blonde (Mari Eriksmoenon) finds herself in a much more dangerous situation with the incorrigible Osmin (Tohias Kehrer, who is fabulous here). The conducting of Robin Ticciati is alert and adaptive, avoiding mania and frenzy, a modern temptation in this piece. The Opus Arte Glyndebourne-one of the more gracious period ensembles remains so here: the sound is nicely balanced and captured and the singing is generally highly competent. © 2017 Australian Hi-Fi

Steven Ritter
Audiophile Audition, August 2016

Actor Franck Saurel has the measure of the songless part of Pasha Selim, but his characterization seems spot on, a progress of understanding from despotic and lustful ruler to one of benign and compassionate overseer by the end. The conducting of Robin Ticciati is alert and adaptive, avoiding mania and frenzy, a modern temptation in this piece. The OAE has always been one of the more gracious period ensembles, and they remain so here. Sets are colorful and gorgeously transparent, while the sound is nicely balanced and captured, as are most of the Glyndebourne performances. The singing is generally highly competent if not always the best available, and there is little to dislike in this admirable issue. © 2016 Audiophile Audition Read complete review

Kevin Filipski
The Flip Side, August 2016

…wonderful vocal performances by Sally Matthews and Tobias Kehrer. © 2016 The Flip Side Read complete review

Remy Franck
Pizzicato, August 2016

David McVicar’s lively staging is matched by Robin Ticciati’s energetic conducting. With mostly good singers this is a really pleasant performance of Mozart’s Singspiel. © 2016 Pizzicato

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

David Denton
David's Review Corner, August 2016

With period influenced opera productions becoming a rare event, David McVicar’s staging of Mozart’s Die Entführung for Glyndebourne is an unexpected pleasure. Highly detailed sets that can be changed in an instant, and with the colourfully elegant costumes that we enjoyed in Glyndebourne of yesteryear, he brings to life a story set in the palace of a Turkish Pasha with its attendant harem in the 18th century. Languishing there are two young woman—Konstanza and her maid Blonde—captured by pirates and then sold to the Pasha. With them was Pedrillo, the servant of the Spanish nobleman, Belmonte, who has just arrived to rescue them all. Add to this scene the Turkish servant, Osmin, who has designs on Blonde, and you have the ingredients for a mix of comedy and drama. McVicar has perfectly married these disparate themes to arrive at a passable real-life story helped by more dialogue than is usually included. The cast is not far from ideal, Sally Matthews singing with unaffected beauty the arias he gives to Konstanze, with a most effective first act ‘Ach, ich liebte’. In complete contrast, Mari Eriksmoen’s Blonde is a real ball of fire, her second act with Osmin becoming a fun packed piece of feminine equality. Smooth of appearance and voice, Edgaras Montvidas’s Belmonte is ideal and offsets the bumbling good-humour of Brenden Gunnell’s Pedrillo. I guess we may never visually see a more perfect Pasha than that of Franck Saurel, or a more comic Osmin than from the bass, Tobias Kehrer. I think it matters little that the period instrument Orchestra of the Age of Enlightenment is on hand, as the singers are all of a ‘modern’ voice and we have no idea how they would have sounded in Mozart’s day. The conductor, Robin Ticciati, keeps the action moving with an appropriate urgency. A brightly lit stage almost throughout greatly helps the filming, close-ups being kept to the minimum required, and the colours and sound in Blu-ray are very vivid, the release coming in both normal stereo and surround-sound, with the added a choice of language translations. A top rated and unqualified recommendation. Also available in standard DVD on OA1215D. © 2016 David’s Review Corner

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