Giuseppe Verdi

“Gardiner's Verdi Requiem is in a class of its own.
His are readings that combine a positive view and interpretative integrity from start to finish, something possible only in the context of the superb professionalism of the (augmented) Monteverdi Choir, which sings with a burnished and steady tone throughout and suggests, rightly, a corporate act of worship. Its contribution is beyond praise.
He might also have been surprised and delighted to ear the soloists' contribution sung with such precision by such a finely integrated quartet, who perform the important unaccompanied passages with special grace and sensitivity.
Instead of the usual jostle of vibratos, here the four voices are firm and true. Individually they're also distinguished. Pride of place must go to Orgonášová who gives the performance of her life. The exactly placed high B in the 'Quid sum miser' section of the 'Dies irae', the perfect blending with von Otter at 'Dominum', the whole of the Andante section of the 'Libera me', sung with ethereal tone and a long breath, make the heart stop in amazement.
In 'Oro supplex' Gardiner follows Verdi's tempo marking. More often he follows tradition, with slower speeds than those suggested, and he allows more licence than the score, or conductors like Toscanini. But as his liberties all seem so convincing in the context of the whole, who should complain? In the Pezzi sacri, Gardiner gives the most thrilling account yet to appear.
The recording, made in Westminster Cathedral, has a huge range which may cause problems in confined spaces. You're liable to be overwhelmed, for instance, by the 'Dies irae'.” Gramophone Classical Music Guide, 2010

“Gardiner, using period forces, is searingly dramatic and superbly recorded, with fine detail, combining transparent textures, weight and atmospheric bloom...The soloists make a characterful quartet, with the vibrant Orgonasova set against the rock-steady Von Otter” Penguin Guide, 2010 ****

“The years have hardly lessened the excitement of listening to this vigorous, closely knit performance.
One realises why we were all amazed by Suliotis's account of the role of Abigaille. Her singing seizes you by the throat through its raw depiction of malice and through its youthful, uninhibited power.
With the benefit of hindsight one can ear how a voice treated so carelessly and unstintingly could not last long, and so it was to be; but we should be glad for the brightness of the meteor while it flashed all too briefly through the operatic firmament.
As an interpretation, her Abigaille seems a little coarse set beside the refinements shown by Scotto for Muti on EMI. However, Suliotis can manage by nature what Scotto has to conjure up by art, and she's certainly a subtler artist than Dimitrova on the wayward Sinopoli/DG version.
Gobbi, nearing the end of his illustrious career in 1965, remains the most convincing interpreter on record of the crazed king. The voice may have become a shade hard and uningratiating, but his use of Italian and his colouring of his tone, finally his pathos, are certainly not rivalled by Cappuccilli (Sinopoli). Carlo Cava exudes implacable fury as old Zaccaria, but he's inclined to go through his tone at forte . Prevedi is more than adequate as Ismaele, Carral less than adequate as Fenena (here DG score with Valentini Terrani).
One of the main assets of the Decca remains Gardelli's prompt, unfussy, and yet thrillingly delivered interpretation, clearly conveyed to his excellent Viennese forces. It's much more steadily and convincingly paced than Sinopoli's reading.
The recording is forward and has plenty of presence, but it now sounds a little boxy beside the greater spaciousness of the DG. But the panache of the Decca enterprise silences criti- cism (except when the minute cuts in Nabucco's part are conceived). It's a pleasure to hear the bold inspiration of Verdi's first triumph conveyed with such conviction.
Listen to the Act 1 finale and you're sure to be won over to the set as an entity.” Gramophone Classical Music Guide, 2010

“a masterly performance, with dramatically intense and deeply imaginative contributions from [Gobbi and Souliotis]...Souliotis made this the one totally satisfying performance of an all-too-brief recording career, wild in places but no more than is dramatically necessary...Vivid and atmospheric 1965 Decca recording.” Penguin Guide, 2010 edition ****

“the vigour and extreme originality of the score is realized...the best reason for acquiring this set is for Pavarotti's delightfully airy and confident Duke of Mantua. Surpassing even his own breezy account for Bonynge, the tireless tenor adds little touches of character and nuances of tone to bring the Duke to life...Ghiaurov, in splendid voice, is a wily, subtle assassin” Gramophone Magazine, January 1990

“Sutherland's second recording of the role of Violetta has a breadth and exuberance beyond her achievement in the earlier version of 1963...Bonynge's conducting is finely sprung, the style direct, the speeds often spacious in lyrical music...The digital recording is outstandingly vivid” Penguin Guide, 2010 edition ****

“this is a memorable reading, heightened by Pavarotti's keen feeling for the words and consistently golden tone...he offers a vital, animated Otello, always individual...Te Kanawa produces consistently sumptuous tone; the Willow Song is glorious.” Penguin Guide, 2010 edition ***

“Souliotis's impressive contribution is well represented on the Decca highlights disc, and there are fine contributions too from Gobbi.” Penguin Guide, 2010 edition ***

“Anna Netrebko is undoubtedly one of the soprano stars of today, and she sings her stockings off with plenty of brilliant and focused tone.” BBC Music Magazine, December 2005 ****

“A star pairing that works to perfection” Financial Times

“With Sinopoli one keeps hearing details normally obscured...Dimitrova is superb in Abigaille's big Act II aria, noble in her evil, as is Cappuccilli as Nabucco...Bright and forward digital sound” Penguin Guide, 2010 edition ****