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James H. North
Fanfare, January 2020

The opera opens with a 17-minute prologue, a scene between Heiling, his mother the Queen, and his minions. …The chorus of minions is sung by children… Markus Werba stomps and rages, but Heiko Trinsinger sings more evenly and dramatically. Both Queens are excellent; Rebecca Teem has a fine dramatic soprano…

The Overture follows that Prologue; the Essen Philharmonic is a fuller orchestra than the Cagliari Theater Orchestra. © 2020 Fanfare Read complete review



Ralph Locke
American Record Guide, November 2019

The chorus participates actively, taking several different roles. And the orchestra, as one might expect from a German opera of this era, intervenes actively, sometimes creating a background tapestry against which the voices declaim relatively conversational lines—a similar texture to the Ring Cycle.

My positive response owes partly to the excellence of the performance here. Best of all is the soprano Jessica Muirhead. Her tone is liquid and pure, utterly appropriate for the unsullied Anna, on whom the Earth Spirit Hans Heiling (who has taken the form of a man) has designs. … All the singers (whether German- or American-born) enunciate the German text with splendid clarity. The Essen orchestra and chorus perform with much zest and nuance. © 2019 American Record Guide Read complete review on American Record Guide



Stephen Barber
MusicWeb International, October 2019

The orchestra and chorus are crisp and alert. … Jessica Muirhead is charming as Anna, and Bettina Ranch as her mother is really powerful in her big scene. … Frank Beermann holds the proceedings together well. © 2019 MusicWeb International Read complete review



Opera, October 2019

This lively Hans Heiling certainly deserves a welcome. Beermann’s conducting and Muirhead’s eloquent singing make it more than a mere stopgap. © 2019 Opera




Robert Hugill
Planet Hugill, August 2019

Heiko Trinsinger is impressive in the trickily high baritone title role… Trinsinger successfully brings out Heiling’s troubled, conflicted nature… As Anna, Jessica Muirhead is impressive combining an essentially lyric voice with a nice degree of heft. © 2019 Planet Hugill




Uwe Krusch
Pizzicato, July 2019

The opera Hans Heiling by Heinrich Marschner marks the transition from Weber to Wagner. The legend about the mountain king, who wants to marry an earthly woman and finally distances himself from her, was Marschner’s long-sought subject. Frank Beermann makes an ideal advocate for this music, and his conducting is engaging and high-spirited. The singers are very good and the choir also adds to the overall atmospheric intensity. © 2019 Pizzicato



Records International, July 2019

Few CD recordings exist, none still in print, of this colorful, atmospheric, Romantic opera with its tale of a gnome-king and his love for a mortal woman. © 2019 Records International



Lark Reviews, June 2019

I suspect that most of us know of Marschner only in terms of a foot note in a Wagner compendium. Here is the evidence which so much of that is based on. If anything Marschner seems closer to Wagner than Weber, particularly in the opening scenes which foreshadow Flying Dutchman and Tannhauser in the romantic sense of sturm und drang. If you don’t know any of Marschner’s works this is a good palce to start. The live recording does at times produce a more distant acoustic but this does not affect the listener’s enjoyment. © 2019 Lark Reviews





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