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Göran Forsling
MusicWeb International, May 2012

Hearing Vogt some years ago as Walther von Stoltzing in Die Meistersinger von Nürnberg at the Bayreuth festival I was first perplexed by his timbre. Here was a very light, lyrical voice, a Mozart voice in fact. It soon turned out that there was no lack in volume and heft and his top notes gleamed like stainless steel. I thought then that this was a voice that should be ideal for Paul—and so it is. The youthfulness and plaintive timbre depict Paul’s character perfectly. He combines this with a fine sense for the text and sensational stamina. Paul is one of the toughest nuts for a tenor and the long solo he has to execute at the very end of the opera must be a nightmare after a long performance filled with vocal challenges. For Klaus Florian Vogt’s achievement alone this set is worth acquiring, whatever the merits of the rest of the cast.

…Hedwig Fassbender…is a strong, dramatic and expressive Brigitta, Paul’s housekeeper. She has a glorious voice…

A major role, on the other hand, is played by the conductor. Korngold’s lavish orchestration can be a problem, since there is always a risk that the orchestra will drench the singers. Yet if it is subdued too much the colours tend to pale. On this recording neither of these situations occurs. The playing is fresh and colourful, tempos are well chosen and the balance, often so problematic in live recordings, is everything one could wish. External noises are practically non-existent. All in all this is a recording of Die tote Stadt that should attract a wide audience. © 2012 MusicWeb International Read complete review

Stephen Eddins, February 2012

The sound is unusually clean, detailed and well balanced for a live performance, and the excitement and high energy of the singers and the orchestra come across powerfully…The playing of Frankfurter Opern-und Museumsorchester is of the highest order and reaffirms the group’s status as one of the very finest international opera orchestras. Tenor Klaus Florian Vogt is outstanding as Paul…Soprano Tatiana Pavlovskaya is mostly effective as Marietta…Baritone Michael Nagy and mezzo-soprano Hedwig Fassbender are completely persuasive as Frank/Fritz and Brigitta…This one ranks among the best and would make an excellent introduction to the work, and it should also be of interest to fans who already love it. © 2012 Read complete review

Kurt Moses
American Record Guide, January 2012

the huge orchestra that the composer prescribed plays the score spectacularly well under Weigl’s astute direction and sounds unusually good—in fact, I’ve never heard better. It’s transparent and as detailed as one would wish. © 2012 American Record Guide Read complete review on American Record Guide online

Adrian Edwards
Gramophone, December 2011

The Frankfurt performance has great depth and resonance. This is another faultlessly cast production with some outstanding singing from the lyric tenor Klaus Florian Vogt and the dramatic soprano Hedwig Fassbender. Their vivid word‑painting and turn of phrase rivets the attention, with the orchestra led by Sebastian Weigle throwing themselves heart and soul into Korngold’s score.

To read the complete review, please visit Gramophone online.

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