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Richard Bratby
Gramophone, December 2019

Operetta is like goulash: there’s no definitive recipe, but you know when it tastes right. This spirited new recording of Kálmán’s 1908 ‘military operetta’ makes a few tweaks to the original, but it’s lively, fresh, and has that authentic Viennese-Hungarian paprika tang. Huge fun, done with huge style: it’s rarely been off my CD player. © 2019 Gramophone

Ken Meltzer
Fanfare, August 2019

All of the principals sing with rich, attractive voices, taste, and a keen affinity for Kálmán’s rich and elegant score. Conductor Michael Hofstetter leads a sparkling performance that never drags, but likewise savors the beauty of Kálmán’s orchestral and vocal writing. The subsidiary roles, including spoken parts, are expertly performed as well. Special kudos to the romantic leads of Risa (Christiane Boesiger) and Lörenthy (Grga Peroš), who perform their roles with the utmost conviction and humanity. © 2019 Fanfare Read complete review

Elliot Fisch
American Record Guide, July 2019

The music is wonderful and easily marks Kalman’s ascendance into the operetta world. There are several beautiful arias, duets, serenades, waltzes, czardas, choruses, and a lively overture. © 2019 American Record Guide Read complete review on American Record Guide

Richard Bratby
Gramophone, July 2019

…The conductor, Michael Hofstetter, who launches the Overture with moustache-twirling élan and has an unerring sense—as vital to Kálmán as a Viennese lilt is to Strauss—for the precise moment when a csárdás starts, imperceptibly, to accelerate. His panache is matched by his sensitivity in the slower numbers: for an escapist comedy, Ein Herbstmanöver is surprisingly poignant, and I found the mixture captivating. …Kálmán’s score is so piquant and these performances are so zestful and affectionate that I urge you to enjoy it regardless. © 2019 Gramophone Read complete review on Gramophone

Opera, June 2019

It’s (Zauber der Liebe) attractively done by the vastly experienced Christiane Boesiger, whose multi-layered lyric soprano casts a spell throughout. © 2019 Opera

Göran Forsling
MusicWeb International, May 2019

The singing is on a high level throughout. Christiane Boesiger’s mature soprano contrasting well with Marie Seidler’s youthful mezzo-soprano. Clemens Kerschbaumer’s lyric tenor as Marosi is attractive but the greatest singing comes from Grga Peroš as Lörenthy. Here is a great lyric baritone with truly nuanced singing, which cannot always be taken for granted in operetta. But Tomi Wendt’s buffo-style entrance song as Wallerstein (tr. 5) is also well characterized.

Operetta lovers should lend an ear to this recording. It is not likely that there will be another of this work within the foreseeable future. © 2019 MusicWeb International Read complete review

Records International, April 2019

The composer’s first full-length work comes from 1908 and its autumn setting at a castle in the Hungarian hinterlands expresses a fin-de-siècle oppressiveness and melancholy in which, as the notes deftly put it, “Superficially simple operetta figures are transformed into the harbingers of the emerging Freudian age.” No libretto. Harald Pfeiffer (tenor), Marie Seidler (mezzo), Christiane Boesiger (soprano), Grga Peroš (baritone), Chorus and Extrachorus of the Gießen State Theatre, Gießen Philharmonic Orchestra; Michael Hofstetter. © 2019 Records International

Remy Franck
Pizzicato, March 2019

This is the first recording of Kalman’s operetta Autumn Manoeuvres in its German version. It was the composer’s very first big success and deserves to be heard. The recording from the State Theatre Giessen (Germany) is very satisfying. © 2019 Pizzicato

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