Wolfgang Amadeus Mozart

“…Terfel is a consummate singing actor. …what other artist could find such different voices for singing Il Commendatore, Don Giovanni and Leporello in the closing scene of Mozart's opera.” BBC Music Magazine, Christmas 2009 ****

“Terfel, of course, brings the smell of the theatre into everything he does. His powerful vocal presence is born of physical presence and he harnesses words, in any language, like few others. Brecht's words for "The Ballad of Mack the Knife" casually slip off Terfel's cords like the threats of a slickly attired bouncer... Sweeney Todd's "Epiphany" (with a flash of Anne Sofie von Otter's cockney Mrs Lovett - not 'arf bad) is scary to behold...” Gramophone Magazine, November 2009

“Its glorious solo singing is headed by the incomparable Fiordiligi of Schwarzkopf and the Dorabella of Christa Ludwig; it remains a superb memento of Walter Legge's recording genius and remains unsurpassed by other recordings made before or since.” Penguin Guide, 2011 edition

“The cast of Otto Klemperer's 1964 recording reads almost like a who's who of the opera world at the time...a Flute full of joy and wisdom, with characters who are both unearthly yet recognisably human.” BBC Music Magazine, January 2012

“On CD the classic Giulini EMI set, lovingly remastered, sets the standard by which all other recordings have come to be judged. Elisabeth Schwarzkopf, as Elvira, emerges as a dominant figure to give a distinctive but totally apt slant to this endlessly invigorating drama....each member of the cast...combines fine singing with keen dramatic sense.” Penguin Guide, 2010 edition ****

“…Rachel Podger…silvery-toned, subtly nuanced 1739 Pesarinius violin and intent direction of the strings of the Orchestra of the Age of Enlightenment find a genuine eloquence in the Adagio of the otherwise unremarkable G major Concerto. Mozart's Sinfonia Concertante is... a masterpiece unique even in his output for the almost operatic interplay between its solo violin and viola protagonists... Podger's almost 'speaking' line contrasts with the more 'masculine' tones of Pavlo Beznosiuk. Others have wrung even more pathos from the somber Andante, but this scarcely alloys the warmth and life of the reading.” BBC Music Magazine, Christmas 2009 ****

“Podger makes a strong case for Haydn's concertos… the sound has a warm glow that enhances her standpoint that these works are not lightweight nonentities. Slow movements are particularly profound…” Gramophone Magazine, December 2009

“...the OAE accompanies with poise and discretion, allowing Podger's consummate talent to shine through.” The Observer, 29th November 2009