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Guy Weatherall
Classical Music, September 2019

Heard recently as the Royal Opera’s Germont, Pirgu is an exciting new talent who shines in every item on this intelligently-planned recital disc. Heroic characterisation is as apt as lyrical, and his firm, flexible tenor works well in the studio. While the core of the disc is Italian (mostly Verdi, well-chosen), his French (Gounod and Massenet) and German (Strauss) also impress. Flexible, idiomatic support from the excellent orchestra and dynamic, rising young conductor. © 2019 Classical Music

Joanne Sydney Lessner
Opera News, August 2016

There is much to admire in tenor Saimir Pirgu’s spacious, ardent singing, showcased here in well-known arias from Italian and French opera. His is a genuinely sensual, virile sound, and in each aria he creates a three-dimensional persona that commands attention to his emotional journey. © 2016 Opera News Read complete review

Huntley Dent
Fanfare, July 2016

Pirgu is…good at enunciation, and his Italian sounds as if he understands what he’s singing…

…the Maggio Musicale Fiorentino Orchestra, and the conducting of Speranza Scappucci are well above average. © 2016 Fanfare Read complete review

Jeff Rosen
American Record Guide, July 2016

Pirgu has a somewhat small-sounding lyric tenor voice, which he uses intelligently, with special attention to dynamics and diction. Conductor Speranza Scappucci draws some beautiful and supportive playing from the orchestra. …beautiful singing from someone who may be one of tomorrow’s important artists. © 2016 American Record Guide Read complete review on American Record Guide

Remy Franck
Pizzicato, April 2016

…[Pirgu] sings winningly in the French repertoire (despite problems with the language) and in Verdi’s Traviata and Rigoletto. © 2016 Pizzicato Read complete review

Lisa Flynn
WFMT (Chicago), April 2016

Albanian tenor Saimir Pirgu has been praised by Plácido Domingo for the lyrical beauty of his voice and by the New York Times for an unforced spontaneity. Pirgu has chosen music for this new recital album to showcase his affinity for Verdi roles, the verismo repertoire, and French and Italian bel canto. © 2016 WFMT (Chicago)

Michael Cookson
MusicWeb International, March 2016

Under Roman conductor Speranza Scappucci the Orchestra del Maggio Musicale Fiorentino is in safe hands. Neat and colourful the disciplined support it provides is sensitive to Pirgu’s requirements.

Marked by dramatic intensity this engaging solo collection from Saimir Pirgu is worthy of praise but the competition is fierce. © 2015 MusicWeb International Read complete review

Mark Pullinger
Gramophone, March 2016

…[Pirgu’s] sense of style can be blunt but he produces some invigorating performances nonetheless. This disc, sensitively accompanied by the Maggio Musicale Fiorentino and Speranza Scappucci, should act as a very good calling card. © 2016 Gramophone Read complete review on Gramophone

David Denton
David's Review Corner, February 2016

In the past ten years the Albanian-born, Saimir Pirgu, has established himself in opera houses around the world as one of the versatile tenors of the 21st century. He has a wide repertoire that includes most of the operas on this disc that showcases his talents over a wide range of roles from the gentle lyricism of La Boheme, through to the weighty drama of Simone Boccanegra. His tonal quality reminds us of Domingo at a similar point in his career, and as we hear the anguish of Werther, there is a fine Otello in the offing. His voice seems ideal for Verdi’s many differing roles, here including the Duke in Rigoletto and Alfredo in La Traviata, with the requisite high C at the end of Salut! Demeure chaste et Pure from Gounod’s Faust. Out of preference I like him most in the gentility of Cilea’s L’arlesiana, but I guess there is no lack of lyric tenors, and he will be most in demand for the drama of his voice. As an introductory sampler disc it is highly impressive, but as a listening experience it is very bitty, and I may not return to it all that often. The accompaniment is of a good routine standing from the Orchestra del Maggio Musicale Fiorentino, and apart from the obvious change in microphone placing at the beginning of track 9, the sound is quite good. © 2016 David’s Review Corner

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