Wolfgang Amadeus Mozart

“Natalie Dessay has all the notes and a technique enough to attack Mozart's concert arias with the requisite panache. Conductor Theodor Guschlbauer ensures finely judged accompaniments.” BBC Music Magazine, September 2005 *****

“Klemperer always declared that the Vienna Philharmonic was his favourite orchestra. On the strength of these performances, most of them recorded on his last visit to the Austrian capital, the feeling seems to have been mutual. The Jupiter… is a reading as fully integrated, alert and sensitively contoured as one could ever want with - as in the Bruckner - control of structure of the essence. The two Beethoven symphonies enjoy the same faithful and open recording and benefit from superb playing. Schubert's Unfinished receives...a searing interpretation, as is - in a lighter vein - the fully energised, impassioned Don Juan (amazing from an 83-year-old) in the same programme, again wonderfully recorded.” Gramophone Magazine, December 2005

“A Mozart programme such as this, which includes two of the greatest sonatas and the A minor Rondo, leaves absolutely no margin for error or insufficiency, nor indeed for anything at all approximate or generalised. It's given to very few to play Mozart as well as Richard Goode, who seems to pitch the rhetoric just right and sustain an ideal balance of strength and refinement.
It's quite big playing, and the range of sonority is appropriate to the A minor Sonata, K310, in particular; no other recent recording realises so well the sharp contrasts, the cross-cut abutments of dynamics, which are such a striking feature in all three movements. Goode has a characteristic touch of urgency that has nothing to do with impetuosity or agitation of the surface, but rather with carrying the discourse forward and making us curious about what will happen next. In the presto finale, where Brendel is choppy and rather slow, Goode is exciting and articulate, wonderfully adept at getting from one thing to another.
There's little to choose between these players in the composite F major Sonata, K533. Brendel is at his finest in the dark, far-reaching middle movement; both of them relish the challenge of characterising the multifariousness of the first; Goode is especially convincing in the last movement.
He gives you the overview, too, often powerfully.
While admiring the flux of intensities, dynamics, shapes and colours he sets before you in the Rondo, you might wonder three-quarters of the way through whether the totality was going to achieve enough weight. But the coda is to come – passionate and desolate, a close without parallel in Mozart's instrumental music – and at moments such as this you can be assured that Goode will surprise and certainly not disappoint.
The shorter pieces, enterprisingly chosen, set off the great works admirably. Exceptional sound throughout – like the playing, quite out of the ordinary run.” Gramophone Classical Music Guide, 2010

“Goode gives a powerful and intense performance of the A minor Sonata, though one might feel that his tempo for the first movement is on the swift side for Mozart's 'maestoso' marking. …without doubt, this new disc gives a great deal of pleasure.” BBC Music Magazine, June 2005 ****

“No work makes better sense in the vernacular than Mozart's concluding masterpiece. The composer and, assuredly, Schikaneder would have approved of giving the work in the language of the listeners, and when you have to hand such a witty, well-worded translation as that of Jeremy Sams, it makes even better sense. Sir Charles Mackerras has always been an advocate of opera in English when the circumstances are right.
As ever, he proves himself a loving and perceptive Mozartian. Throughout he wonderfully contrasts the warmth and sensuousness of the music for the good characters with the fire and fury of the baddies, and he persuades the LPO to play with a lightness and promptness that's wholly enchanting, quite the equal of most bands on the other available versions.
In no way is his interpretation here inferior to his German one on Telarc; indeed, in the central roles of Tamino and Pamina the casting for Chandos is an improvement, and Keenlyside is fully the equal of Thomas Allen on the Telarc set. Keenlyside's loveable, slightly sad, very human and perfectly sung Papageno is at the centre of things. Rebecca Evans's voice has taken on a new richness without losing any of its focus or delicacy of utterance. Everything she does has sincerity and poise, although her diction might, with advantage, be clearer.
The recording is fine apart from an over-use of thunder and lightning as sound effects. Anyone wanting the work in English needn't hesitate to acquire this set, the first-ever on CD.” Gramophone Classical Music Guide, 2010

“Of all repertoire operas, none gains more than The Magic Flute from performance in the language of the audience. Musically, the performance is hard to fault. Articulation is light and buoyant, tempos mobile yet never driven or inflexible, textures sharp and transparent. Rebecca Evans, a richer-toned Pamina than usual, movingly portrays her development from ingénue to woman 'worthy to attain the light'. ...Simon Keenlyside is a marvellous Papageno, innocent, vulnerable and funny without clownishness. Barry Banks... sings a positive, un-wimpish Tamino. With his rugged, rolling bass John Tomlinson creates a formidably imposing yet humane Sarastro, while Elizabeth Vidal atones for some cloudy diction with fiery, bang in-tune performances of the Queen of the Night's arias. ...this new performance, beautifully recorded, with a modicum of well-judged sound effects, catches the work's fairytale wonder, solemnity and fun as fully and delightfully as any, irrespective of language.” BBC Music Magazine, June 2005 *****