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Jens F. Laurson
Ionarts, October 2014

The performance, headed by Michael Nagy and Christiane Libor…gives the work all it can be given and constitutes a rare bon-bon for Wagner-explorers. © 2014 Ionarts Read complete review

Joanne Sydney Lessner
Opera News, January 2014

Sebastian Weigle governs his forces with a well-judged combination of precision and passionate urgency, and the orchestra in particular responds with vibrant sound and irresistible verve. Soprano Christiane Libor deftly calibrates Isabella’s awakening to her own intelligence and feminine power. Her plea to Friedrich, “Kennst du das Leid der Elternlosen,” reveals a uniquely persuasive combination of vulnerability, strength and a natural sensuality that she allows to take her character by surprise. Anna Ryberg is an animated, brightly delineated Dorella, Anna Gabler a soulful…Mariana. As Claudio, Charles Reid demonstrates a fluid, smooth tenor, throbbing with warmth and sentiment, especially in his impassioned duet with Isabella. Friedrich gets some of the most idiomatically Wagnerian music, and Michael Nagy wrings all the thorny emotional conflict from his soliloquy “So spät und noch kein Brief von Isabella.” Julian Prégardien stands out as a suave and mellifluous Pontio Pilato… © 2014 Opera News Read complete review

Richard Sininger
American Record Guide, January 2014

The recording…makes a good case for the opera. The conductor…shows firm control of the fine chorus and orchestra.

The entire recording is very enjoyable, as is the opera. © 2014 American Record Guide Read complete review on American Record Guide

Arnold Whittall
Gramophone, October 2013

Sebastian Weigle…has an excellent cast: singers such as Anna Gabler, Christiane Libor and Michael Nagy all ensure that the score’s strongest, least hell-for-leather episodes are heard to full effect. The purely musical high point is Mariana’s canzonetta ‘Welch wunderbar Erwarten’…very Weber-like but with extra expressive depth, and leaving no doubt as to the young Wagner’s musical potential. Anna Gabler…makes the most of it. Christiane Libor is the splendidly robust and eloquent Isabella. © 2013 Gramophone Read complete review on Gramophone

Michael Johnson, September 2013

The opening bars of the overture on this recording are absolutely electrifying and thus make a terrific introduction to a work that has obviously been thoroughly prepared for the concert performances that provide the material.

Frankfurt Opera assembled an eminently suitable cast for the work. The four tenors (Peter Bronder, Charles Reid, Franz Meyer and Julian Prégardien) are well differentiated as are the three soprano voices (Christiane Libor, Anna Gabler and Anna Ryberg). Christiane Libor…is a staunch, expressive Isabella… © 2013 Read complete review

Blair Sanderson, September 2013

[Das Liebesverbot] is treated here with a light touch that makes it quite appealing. In this live concert performance, the orchestra plays with vitality and bright colors, and the cast and chorus are quite lively and humorous. Oehms’ provides exceptional sound for this three-CD set…All self-respecting Wagnerians should hear this recording at least once, because it goes a long way to rehabilitating this precursor to Wagner’s masterpieces. © 2013 Read complete review, August 2013

The new recording of Das Liebesverbot is…an important accomplishment…this is interesting, well-made music that is very rarely heard…it shows aspects of Wagner’s style and thought…that have far too infrequently been available to modern opera lovers. © 2013 Read complete review

Joseph Newsome
Voix des Arts, August 2013

Friedrich…is commandingly sung by baritone Michael Nagy…Chief constable Brighella… is sung with panache by bass Thorsten Grümbel…

Angelo…is capably sung by Oper Frankfurt Kammersänger Franz Mayer. Young tenor Simon Bode brings a lovely timbre to Antonio’s music, his singing shaped by an obvious affection for the music. Charles Reid…sings Claudio with diction and tone of equal clarity, voicing his lines with freshness…The playboy Luzio is convincing portrayed by English-born tenor Peter Bronder…Mr Bronder offers a responsive, ingratiating performance.

Mariana…is sung with the voice of an angel and the concentration of a prize fighter by soprano Anna Gabler. Ms. Gabler possesses the gift of making every word that she sings sound completely spontaneous, and the effectiveness of her performance is considerably enhanced by the fact that it sounds as though every note is a new invention…the Isabella of soprano Christiane Libor is a fascinating creation, at once passionate and poised.

This wonderful recording from Oehms Classics rectifies the injustice suffered by Das Liebesverbot during the past 180 years. © 2013 Voix des Arts Read complete review

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