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José Luis Bermúdez
Classical Net, June 2015

De Billy does a fine job of bringing out the strengths of the Frankfurt Opera orchestra and choir. The danger in Lohengrin, which has so many large-scale set-pieces, is that it can sound like four-square Grand Opera. De Billy does not fall into the trap. His conducting is fluid and maintains good momentum through the choral scenes. © 2015 Classical Net Read complete review

Huntley Dent
Fanfare, March 2015

The Elsa of Finnish soprano Camilla Nylund is youthful, bright-voiced, and attractive. In the secondary couple, Michaela Schuster sings an impressive Ortrud. She applies subtler vocal inflections than anyone else in the cast; her mezzo is strong and lustrous; best of all, no shrieking. Falk Struckmann makes for a solid and sympathetic Heinrich.

De Billy gets the orchestra and chorus to sound very good from beginning to end. It should also be said that the performance grows stronger as it goes on. © 2015 Fanfare Read complete review

Ralph V. Lucano
American Record Guide, March 2015

In response, perhaps, to the relentless duple meters of Lohengrin, De Billy comes on particularly strong. He brings energy and excitability to spare to the music, and he makes the most of the big moments… [He] not only keeps the orchestra full and weighty but manages to hold everything in balance. © 2015 American Record Guide Read complete review on American Record Guide

Simon Thompson
MusicWeb International, December 2014

The recording balance is very carefully constructed…favouring the orchestra ever so slightly, but without ever endangering the singers who sound clear and unobstructed all the way through. As for de Billy’s direction, it is given the space to be exciting and calculating as the score requires. The ensembles all sound good…and the singing of the chorus, so important in this opera, is magnificent throughout. © 2014 MusicWeb International Read complete review

Mike Ashman
Gramophone, December 2014

What stand out especially here are balances between stage and pit and chorus and the soloists which allow an exceptional amount of detail through in sometimes congested-sounding passages in the outeract finales. Credit also naturally to the recording for this. © 2014 Gramophone Read complete review on Gramophone

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