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Bill White
Fanfare, May 2018

This cast provides some unusually fine singing, perhaps among the best I have heard from this venue, with leads Elena Puszta as Princess Marie and Bernhard Berchtold as Adam the bird seller both vocally excellent. Those two are responsible for the finest numbers in the score, the act I waltz duet “Schenkt man sich Rosen in Tirol” and the act II “Wie mein Ahnl zwanzig Jahr,” sung by Berchtold alone. The role of Christel (from the Post) is also very well sung by Martina Fender, and Intendent Schellenberger even gives us what is likely her swansong here as the Baroness Adelaide. I wish her only the best of future luck. If you want the music, you can’t go wrong, these Oehms discs are always well-sung, quality productions. © 2018 Fanfare Read complete review

Elliot Fisch
American Record Guide, March 2018

The new cast sounds similar to the 1998 cast, except that the Adam on the 1998 recording, Sebastien Reinthaller, has a higher tenor voice and sings the part as if born to play the bird seller. Bernhardt Berchtold on the new recording is also very good, and the rest of the cast sings their parts expertly. The sound on the new recording is slightly clearer, but both recordings are excellent. © 2018 American Record Guide Read complete review on American Record Guide

Lynn René Bayley
The Art Music Lounge, September 2017

This one most definitely sparkles from first note to last, and in operettas, sparkle is what you want. More importantly, all the lead singers have fine voices, and that, too, is what you want. This is especially crucial in the four major roles, Adam (the bird seller of the title), Christel (his girl friend), Baron Weps, and Electress Marie.

For the most part, Zeller’s music is flat-out amazing, showing everyone just how many good tunes could be written in 3/4 time…the tempo taken for most of the operetta, except for the few written in a fast-paced, bouncy 4. Adam’s aria, “Wie mein Ahnl zwanzig Jahre,” is probably the most famous set-piece in the operetta, having been recorded in days of yore by such famous tenors as Richard Tauber, Marcel Wittrisch and Nicolai Gedda. Naturally, all of these had much better voices per se than the usual tenors cast as Adam, but Bernhard Bechtold is up to the task, not only stylish but able to manage the difficult soft high notes with ease. …everyone is into their roles, they have good voices, and boy oh boy does conductor Prießnitz whip up the chorus and orchestra. A good time is had by all. © 2017 The Art Music Lounge Read complete review

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