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Andrew Desiderio
Fanfare, September 2020

Donald Runnicles and the Deutsche Oper Berlin Orchestra are in top form here, blending seamlessly with the singers and the drama.

Oceane is a decent opera, written by one of Germany’s leading composers in the post-Henze tradition, and who, at the very least, writes his operas with the courage of his convictions, an admirable trait that makes Oceane worth checking out… © 2020 Fanfare Read complete review

Allan Altman
American Record Guide, July 2020

Glanert spices the opera with waltzes, polkas, and other popular forms of the era, as well as evocations of typical religious themes for the Pastor. This sets up a striking contrast between the complex textures of Oceane’s music and the more conventional sonic world of the rest of the cast.

Donald Runnicles, music director of Deutsche Oper for a decade now, is renowned for his work in new music. His keen sense of pacing is just one of the factors that contributes to the success of this performance. © 2020 American Record Guide Read complete review on American Record Guide

Stephen Barber
MusicWeb International, May 2020

The recording is taken from three of the performances of the first production. Maria Bengtsson in the title role is hypnotic and carries all before her. Nikolai Schukoff is an ardent and besotted Martin. Nicole Haslett is a charming Kristina with a very florid part, and Christoph Pohl a worthy Albert. Albert Pesendorfer’s fruity bass makes Pastor Baltzer, who would be intolerable in real life, a pleasure to listen to. … The chorus and orchestra sing and play with a will and Donald Runnicles brings out the Wagnerian affiliations of the score. The recording is clean and natural.

…I both enjoyed and was impressed by Oceane and hope that it will be taken up elsewhere. © 2020 MusicWeb International Read complete review

Andrew Clements
The Guardian, April 2020

Hans-Ulrich Treichel’s libretto completes what Fontane left unfinished; it tells of the arrival of the mysterious, apparently rootless Oceane in a quiet seaside resort on the Baltic coast, and her effect on the community there. If the central character seems to combine elements of Dvoƙák’s Rusalka, Debussy’s Mélisande and even Berg’s Lulu, then Glanert’s score is rooted in the post-Romantic German tradition leading back through his teacher Hans Werner Henze to Berg and Richard Strauss. Dramatically and musically, it’s all wonderfully assured and convincing. © 2020 The Guardian Read complete review

Uwe Krusch
Pizzicato, February 2020

Nikolai Schukoff sings the overwhelmed lover who doesn’t understand the world of the Oceane. The priest Baltzer, sung by the bass Albert Pesendorfer, shows with sharp diction how religion is devastating those who don’t comply. The other couple, Kristina and Albert, are well characterized by Nicole Haslett and Christoph Pohl. The xenophobic mob, which the chorus sings with admirable agility, plays an important role. Conductor Donald Runnicles finds ways and means to fully unfold the orchestral colours. © 2020 Pizzicato Read complete review

Records International, February 2020

Oceane von Parceval started life as a novel draft by Theodor Fontane (1819-98), whose novels are known for skeptical social commentary and strong female characters. Oceane is his entry in the canon of myths of mysterious women from an alien aquatic world who try in vain to assimilate into human society and adopt human emotions, with tragic results—all descendants of Melusine—of whom the most famous are Undine, and the Little Mermaid. … The ocean itself is a character in the drama, depicted in the dark textures of orchestra and choir a constant presence coloring the rich, Romantic idiom of the work (Oceane’s assimilation into her element is quite overwhelming). Glanert’s mastery of the operatic stage—this is his eleventh essay in the form—has never been shown to greater advantage than in this impressive work. © 2020 Records International Read complete review

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