Vincenzo Bellini

“…the tenor's impeccable artistry, founded on the strongest of techniques plus - vitally - the keenest of expressive intentions, is in flamboyant evidence throughout.” BBC Music Magazine, August 2008 ****

“The opening track here is presumably Juan Diego Flórez's final word on the show-stopping aria from La fille du régiment. The rest of this attractive canter through the bel canto repertory finds our hero in robust form. This is very much a case of "Flórez and friends". Anna Netrebko contributes a touching Elvira to the great last-act duet from I Puritani, a very full version culminates in those stratospheric phrases taking the tenor up to the high D. Is there any more catchy Donizetti tune than the duet, "Da quel dì che t'incontra"? Flórez and Patricia Ciofi are not undermined by comparison with Sutherland and Pavarotti... The two extracts from L'elisir d'amore are both winning, with Mariusz Kwiecien as an exceptionally vivid Belcore.” Gramophone Magazine, Awards Issue 2008

“Florez’s singing, at least, justifies Decca’s “Bel Canto Spectacular” trumpeting. Netrebko is a bit blowsy, Barcellona goes flat on her final note and Domingo, understandably, drops an octave lower than his younger colleague at the climax of their duet. Florez is fabulous in Tonio’s show stopper from the Italian version of Donizetti’s Daughter of the Regiment, with nine top Cs. There may be more honeyed accounts of Una furtiva lagrima on disc, but his bright tone, superb diction and style are winning enough.” Sunday Times, 20th July 2008 ****

“The world's most sought-after "tenore di grazia" bounds in with his trademark pizzazz in his party-piece aria from Donizetti's La figlia del reggimento, capped by volleys of exuberantly pinging top Cs. We get another Flórez calling-card in a sweetly voiced "Una furtiva lagrima". Elsewhere this recital, true to its billing, becomes a bel canto celebration for Flórez and friends.” The Telegraph, 12th July 2008

“All credit to Decca for capturing in vivid digital sound, well-balanced, and with the audience rarely intrusive (except of course in the vociferous applause), the performances given in gala concerts earlier this year [1981] … with Horne giving a dazzling display [in La donna del lago] … still superbly agile, and with gloriously tough chest tone … in the Masnadieri aria … [Sutherland’s] agility remains amazing, and commandingly at the end she prolongs her trill so long that the orchestra has to wait and the audience too seems to catch a breath before the launching of the ringing, absolutely true and steady top C. The real point of the collection lies in the ensembles, most of them with all three singers … choice rarities include the Ernani trio (starting the concert) with Horne taking the baritone role, as Alboni evidently did at Covent Garden in 1847. It makes a splendid item, with Horne’s chest tones again magnificent … the Norma trio is interesting in that Pavarotti has yet to be persuaded to sing the role of Pollione … Sutherland is at her finest too. The Otello duet brings treasure with another role which as yet Pavarotti refuses to tackle in the opera house … the firmness and heroic power certainly have one thirsting for more … Sutherland first sang Desdemona at Covent Garden in 1957 … she has been singing the role again in Australia recently. I don’t wonder; because the voice, though mature for Desdemona … rides the phrases gloriously and “Amen risponda” is treated with sweet expansiveness. A flaw or two is inevitable in live performances … what matters is the vigour and realism of live communication and, with the help of digital sound, there is no lack of that.” Gramophone Magazine

“Akiko Nakajima has a light voice…with an able technique and imaginative expressiveness.” Gramophone Magazine