Giuseppe Verdi

“Were the position of World's Top Tenor available, there may be no stronger candidate at present than Kaufmann. For the most part this recital is a triumph.” Gramophone Magazine, April 2008

“This is an exciting disc, for it shows that at long last there is a German tenor whose voice is rich and warm enough to encompass the Romantic Italian reportoire, while being as much at home in French and in his native German operatic traditions. He is, in other words, a successor to Fritz Wunderlich and more besides. Possibly the high point is his singing of the 'Prize Song' from Die Meistersinger, which sounds as if it is being composed as he sings it...” BBC Music Magazine, April 2008 *****

“One of the most important, and versatile, singers of our age” The Times

“The more delicate critical constitutions among us will recoil at the very idea of there being any- thing so distasteful as a World's Top Tenor, but were such a position available and the title to be competed for, there would probably be no stronger candidate at the present time than Jonas Kaufmann.
Kaufmann's voice, warm and full–bodied in its middle register, has an excitingly brilliant top. It has a Latin richness, and the elements are well integrated. The German component (his home town is Munich, though you might have thought Vienna more likely) accounts for the broader musicianship that shapes his phrases and fashions his tone as an instrument sensitive to modulations of sense and sound. The recital opens with Rodolfo's La bohème narrative, and fine as that is, the Flower Song from Carmen, which follows, is still better. Deeply touching in the sincerity of its appeal, it is nevertheless offered as song, its lyrical inviolate, the B flat of 'et j'étais une chose à toi', a climax not of volume but of devoted tenderness. And the recorded sound catches him most truly in this. Along with the Rigoletto, Don Carlos and Manon arias, it brings him before us as remembered 'in the flesh', whereas elsewhere some element in the tonal balance (an over–insistence on upper frequencies perhaps) somehow blurred the individuality.
The Traviata disappoints: too heroic in the recitative, almost completely unsmiling in the aria (he should hear Gigli). For the most part, though, this recital is a triumph.” Gramophone Classical Music Guide, 2010

“Callas largely overcame developing vocal problems to give this blazing Leonora, with Tucker at his most ardent and Serafin's sturdy support.” BBC Music Magazine, July 2008 *****

“Mark Obert-Thorn's newest transfer is splendid, beautifully smooth and clean, seemingly even fresher than the full-priced original. But what makes this Naxos set indispensable is the coupling, a generous set of highlights from a vintage set of the opera with Zinka Milanov” Penguin Guide, 2010 edition ***

“Despite later uncut performances, Callas, di Stefano and Karajan at his most dramatic, are a thrilling team, with an excellent cast and vivid recording from EMI's LPs rather than master tapes.” BBC Music Magazine, July 2008 *****

“The combination of Karajan and Callas is formidably impressive. There is toughness and dramatic determination in Callas's singing...Barbieri is a magnificent Azucena, Panerai is a strong, incisive Count, and di Stefano is at his finest as Manrico...The Naxos transfer is well up to Mark Obert-Thorn's usual high standard, and one is struck by the wide dynamic range of the recording.” Penguin Guide, 2010 edition ***

“Gobbi's chocolate-smooth tones almost steal the show, but Callas gives a touching Amelia, and di Stefano is dashing and irresponsible. There is a strong cast and theatrical conducting from Votto.” BBC Music Magazine, July 2008 *****

“cast from strength, with all the principals - notably Gobbi and Giuseppe di Stefano - on top form, this is indispensable for Callas's admirers.” Penguin Guide, 2010 edition ***