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Remy Franck
Pizzicato, March 2017

Bruno Weil’s recording of the Ninth Symphony is quite different from other performances on historic instruments: his tempi are moderate and the sound is warm and extremely well balanced. His conducting gives the music a dynamic and pulsating character. © 2017 Pizzicato



John Gilks
Opera Canada, February 2017

Weil’s approach is interesting… He’s generally pretty brisk, but also tending towards rather even tempi. He doesn’t slow or speed up dramatically for emphasis as one might hear with most large orchestra recordings of Beethoven. This creates a rather compelling sense of structure and forward momentum. Consistent with the period aesthetic, the soloists in the final movement sound very youthful. This is especially true of soprano Sigrid Plundrich. To some tastes, her light, bright sound might seem thin, but one is reminded that Beethoven himself used the 18-year-old Henriette Sontag for the first performance. The overall approach is consistent with the first three movements; it’s very structured, with the soloists not being allowed to dictate the pace or emphasis. Backed up by very fine, disciplined singing by the excellent Tafelmusik Chamber Choir, it creates an overall coherence that isn’t always manifest in the famous “Ode to Joy.” © 2017 Opera Canada



Peter Quantrill
Gramophone, January 2017

…the choral voices are professionally blended, their diction excellent—as absorbed within a larger struggle to rejoice against strong odds. A Choral Symphony this ain’t, but it has a ring of truth. © 2017 Gramophone Read complete review on Gramophone




Blair Sanderson
AllMusic.com, November 2016

…Bruno Weil and the Tafelmusik Baroque Orchestra and the Tafelmusik Chamber Choir perform Ludwig van Beethoven’s Symphony No. 9 in D minor, “Choral,” in a streamlined presentation notable for its authentic instrumentation and historically informed performance practice. The hallmarks of Classical style are immediately apparent, from the brisk tempos and the reduced size of the orchestra, to the straight, vibrato-less string tone and the distinctive and occasionally raw timbres of early 19th century woodwinds and brass. © 2016 AllMusic.com Read complete review



Ivana Popovic
The WholeNote, September 2016

Tafelmusik Chamber Choir and soloists—Sigrid Plundrich, Mary-Ellen Nesi, Colin Balzer and Simon Tischler—are all superb in bringing out the purity and drama of Beethoven’s music. © 2016 The WholeNote Read complete review



Dean Frey
Music for Several Instruments, August 2016

Rather than going all-in HIP, there’s some finessing going on here in some of the decisions by Bruno Weill and the production/engineering team. The string sound is softened and the winds and brass integrated and balanced by the warm acoustic of Koerner Hall and microphone placement. Weill brings more rubato and less speed than you’d expect in a more doctrinaire HIP performance. The expressive possibilities of all of this are heightened by the real advantages Tafelmusik brings to bear: the high musical standards of the instrumentalists, the vocal soloists, and especially the fine chorus. © 2016 Music for Several Instruments Read complete review





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