Warsaw Philharmonic Orchestra

“these works are masterpieces. The earthy, minatory Piano Concerto is one of the most exciting places to begin an exploration of Penderecki's music, although the Flute Concerto is arguably more accessible, being altogether gentler and, given Penderecki's earlier reputation, surprisingly tonal.” MusicWeb International, 2nd May 2013

“There's a sincerity about Penderecki's Piano Concerto that, while naive, is sincerely naive...Barry Douglas, Antoni Wit and the Warsaw Philharmonic don't hold back; their performance is appropriately hard-selling and over-the-top.” Gramophone Magazine, June 2013

“Douglas is ideally suited to this big-boned music, and relishes its darkly imposing and sometimes splashy textures...Wit draws a kaleidoscope performance, making this another valuable addition to the Penderecki discography.” BBC Music Magazine, July 2013 ****

“The style is part Janácek, part Shostakovich, part Carl Orff. Impassioned performance by the Warsaw Philharmonic Orchestra and Choir under Antoni Wit.” The Times, 2nd March 2013 ***

“The musical style he adopts is resolutely non-complaisant...Wit conducts a thoroughly well-prepared account, with respectable solo and choral singing. Phrasing and overall dramatic shaping are perhaps a little stiff, not surprisingly given the demands of some of the writing.” Gramophone Magazine, April 2013

“Inevitably the mood of much of the music is oppressive and troubled...Weinberg deploys his large forces sparingly and with great textural variety...It was a masterstroke on the part of Naxos to use Polish forces. Antoni Wit and the Warsaw Philharmonic...deliver a performance of searcing intensity.” BBC Music Magazine, May 2013 ****

“The Concerto-Cantata (1992) receives its premiere recording here, and the Warsaw Philharmonic does it full justice, playing equally convincingly and intensely in the severe, concentrated slow sections and the all-out loud and fast episodes. Carol Wincenc plays the prominent flute part expressively” BBC Music Magazine, September 2012 *****

“[The Three Dances and Harpsichord Concerto] show a side to Gorecki that has often been forgotten since the success of the Third Symphony but is still to be found in his later works - open, eclectic, witty and ironic.” Gramophone Magazine, Awards Issue 2012

“Anna Górecka, the composer’s daughter, turns in a roller-coaster of a performance of the concerto...Most importantly, though, she plays the work with total commitment, and if ultimately this listener finds the work unconvincing, it is most certainly not the fault of this brilliant player. The playing of the Warsaw Philharmonic Orchestra under Antoni Wit in all four works cannot be faulted.” MusicWeb International, August 2012

“The large Warsaw Philharmonic Choir has a welcome solidity, unanimity and warmth of tone...Wit's tempos tend to be on the brisk side - especially in the Gesang der Parzen, a performance that illuminates that piece's Baroque roots but somewhat mislays its underlying sense of tragic mystery...the field is crowded these days, but this new Naxos offering will be competitive at its budget price.” BBC Music Magazine, February 2012 ****

“Ewa Wolak is a rich-toned contralto, without a hint of a wobble, who can evoke exactly the kind of lyrical drama which the lovely Alto Rhapsody commands...The choral singing is radiant in its glowing simplicity...this super-budget collection is marvellously sung and played.” Gramophone Magazine, March 2012

“You might not like Wit's approach if you like your Brahms volatile. His conducting is wonderfully judged, if slow, allowing the music to unfold with a measured eloquence that often generates a sense of gathering implacability...It's the Warsaw Philharmonic Choir's contribution, superbly controlled and articulate, that is so sensational here, however. Their performance of Nänie, in particular, is among the most beautiful on disc” The Guardian, 9th February 2012 ****

“The performances are lean, light and powerful. The general approach is on the slower side, which sometimes makes the music static. The Alto Rhapsody is unhurried, even restrained - one of those readings that conquer you not by concentrated stress, but by beauty. The solo alto singing is almost operatic; Ewa Wolak’s voice is strong and even, without annoying vibrato...The chorus has a beautiful sound, very good diction, and is well balanced.” MusicWeb International, August 2012

“Both pieces receive crisp, radiant and transparent performances.” Financial Times, 12th November 2011 ****

“The polished choral singing is a joy, with excellent pitching throughout, especially in the cruelly exposed unaccompanied entries. The orchestra's contribution is equally distinguished. How refreshing it is to hear such 'unhomogenised' clarinet- and trumpet-playing. The solo quartet also acquits itself favourably, in particular Christiane Libor, who is on spectacular form.” Gramophone Magazine, January 2012

“Wit's Warsaw Philharmonic forces plug directly into the emotional power of Janacek's music, reacting like demons to the distinct undulations of its speech-inspired melodic lines and spanning a rich tonal spectrum all too often missing in performances of the Glagolitic Mass. The rhythmic cripsness and sheer intensity of the conductor's interpretation return massive dividends in 'Veruju' ('Credo').” Classic FM Magazine, February 2012 ****

“There are many attractive aspects to this performance, not least the heroic tenor of Timothy Bench and the full-throated singing of the sopranos and altos. Too often, however, the delivery of Janacek's motor rhythms seems mechanical...[In the Sinfonietta] Wit and the Warsaw Philharmonic are more consistently convincing.” BBC Music Magazine, February 2012 ***

“Overall, Wit and his Warsaw forces have the measure of this extraordinary mass...What makes this new disc indispensable is the Sinfonietta. For both performance and sound it belongs in the top echelon of recordings of this dazzling work...In my opinion, then, Wit’s is the best option now for this particular combination of works on one disc. The Sinfonietta alone makes it indispensable.” MusicWeb International, August 2012

“Wit's new version concedes little or nothing to Harnoncourt except sound - excellent, nevertheless - and improves on his interpretation with less mannered, more natural pacing. The soloists are also fine, especially Jaakko Kortekangas's Faust, reminiscent of Fischer-Dieskau but silkier, and Andrew Gangestad's Mephistopheles...the playing is excellent.” BBC Music Magazine, March 2011 *****

“the best of the soloists, baritone Jaakko Kortekangas's Faust and Andrew Gangestad's Mephistopheles, are first class. Above all, Antoni Wit is a profoundly idiomatic Schumann conductor, presenting his credentials in a superb account of the overture, and bringing the same dramatic sweep to all the choral numbers that follow.” The Guardian, 17th February 2011 ****

“the quality and musical intelligence of all concerned with this studio album generally match, and often exceed, what more famous names have brough to Schumann's Faust on record...Witt's [sic] sense of architecture and consequent handling of tempo and phrasing bring light and life to Schumann's emotionally supercharged score.” Classic FM Magazine, April 2011 ****

“To succeed it depends on a sense of dramatic continuity, unifying the disparate panels of Schumann’s grand scheme. Wit achieves exactly that, setting the pace with a wonderfully idiomatic overture and continuing with a performance of character and intensity...Jaako Kortegangas makes a noble Faust, Andrew Gangestad a gritty Mephistopheles and Christiane Libor a sympathetic Gretchen.” Financial Times, 9th April 2011 ****