Gwynne Howell

“The soprano "Laudamus te" is beautifully sung by Anne Sofie von Otter...apart from Solti's predilection for exaggerated staccatos in the choral parts, the "Cum Sancto Spiritu" is spritely and effective with some notably fine playing from the Chicago Symphony Orchestra.” Gramophone Magazine, May 1991

“Hyperion clearly have another hit on their hands with this splendid release” CD Review

“An impeccable performance … a CD of rare depth and conviction” Good CD Guide

“Quite magnificent … hoping for a better all-round performance than this is probably an impossible dream!” Gramophone Magazine

“Cheryl Barker’s Katya is a huge achievement, rapturously sung, pertinently acted…” Venue Magazine (on WNO's performances of Katya Kabanova)

“…Rizzi illuminates… with almost Puccinian warmth, while keenly evoking the tightening tensions beneath. …Barker's… intense soprano, large for the role, makes Katya sound stronger than usual yet also more neurotic… Her grief over Boris, sung with appropriate charm and vague callousness by Robert Brubaker, and her useless husband Tichon, well sketched by Peter Hoare, are just the agents. Katya's real downfall is the trap set by her oppressive mother-in-law Kabanicha... Jane Henschel sings her with steely hauteur…” BBC Music Magazine, December 2007 *****

“Carlo Rizzi, who conducted the live performances for WNO, is a comparably persuasive Janácek interpreter. As in the English Makropulos Case, the principal singer is Cheryl Barker, fresh, clear and powerful, more girlish-sounding than Söderström. Jane Henschel is outstanding as Marga Kabanova, the rich widow who persecutes her daughter-in-law, wonderfully rich and firm throughout her range. The three tenor roles are exceptionally well taken, even if the contrasts between Robert Brubaker as Boris, Peter Wedd as Kudryash and Peter Hoare as Tichon, husband of Katya and son of Marfa, are not ideally marked. Another outstanding issue in the Opera in English series.” Gramophone Magazine, December 2007

“This is the fifth Janácek opera in Chandos's Opera in English series, and with vivid, well separated sound, balancing the voices in front of the orchestra, the first impression is how clear the words are from the singers of the Welsh National Opera production on which the recording is based.
It is fascinating to compare this version with Mackerras's Decca recording with the Vienna Philharmonic and an excellent, mainly Czech cast, Elisabeth Söderström taking the title-role. If that recording is marginally richer and weightier than the new Chandos, the strings of WNO play with comparable refinement. Rizzi's interpretation in all three acts is a degree more urgent, with speeds consistently faster, no doubt reflecting his experience of conducting it live.
As in the English Makropulos Case, the principal singer is Cheryl Barker, fresh, clear and powerful, more girlish-sounding than Söderström.
Gwynne Howell as the merchant Dikoi, uncle of Boris, is also excellent.
The old Norman Tucker translation is used with some minor amendments by Rodney Blumer, nom de plume of critic Rodney Milnes, with words admirably clear throughout, adding to the dramatic impact of the piece.” Gramophone Classical Music Guide, 2010

‘A fascinating CD’ (The Recorder)

“Gibson's performances combine fire and panache, and the recorded sound has an ideal Elgarian expansiveness, the choral tone rich and well focused, the orchestral brass given plenty of weight.” Penguin Guide, 2011 edition