Gramophone Magazine Editor's Choice

“on this disc Cecilia Bartoli makes clear that Gluck was a formidable musical dramatist even in his early, pre-'reform' works...This CD, in short, is a tour de force of dramatic singing, in the widest sense of the term: and it is also full of really beautiful sound; rich, warm, out.” Gramophone Magazine, 2001

“This is something very much out of the ordinary. These eight arias, taken variously from Gluck's early operas (those preceding his 'reforms' that began with Orfeo in 1762) or his non-reform later ones, are almost wholly unfamiliar, but they have great power and character; and they're sung with an extraordinary emotional force and technical skill, not to say a sheer beauty of tone, that can't be matched by any other singer today. Cecilia Bartoli's range is formidable. In the first aria, from La clemenza diTito, she sings with trumpet-like tone and brilliance of attack, throwing off wide-spanning arpeggios with evident abandon and dispatching coloratura with fluency and precision, each note articulated and perfectly tuned. The second, an elegantly pathetic little piece from the later IlParnaso confuso, is a tour de force of delicate, tender pianissimo singing. The third, from Ezio, begins with an orchestral recitative of thrilling dramatic urgency and goes on to an aria of great passion. Bartoli is described as a mezzo-soprano here, and her voice does indeed chiefly lie in that range; but most of these are soprano arias, and she happily goes well above the stave – there's one slightly squally high C sharp in the first aria but she's usually pretty comfortable in her top register. The accompaniments are splendidly sensitive and alert. A quite outstanding disc that no one who loves fine singing can miss.” Gramophone Classical Music Guide, 2010

“John Adams's nativity oratorio is a winner, a very palpable hit - an intelligent, emotional and sometimes magical re-telling of the old, old story from a new perspective...you can tell the cast has the music in their bones...El Niño emerges with a new radiance and beauty on record.” Andrew McGregor, bbc.co.uk, 20th November 2002

“From its very first bars, this recording strikes a chord of authenticity. Too often Offenbach's works are recorded with large orchestra, huge chorus and swimming-bath acoustics. Offenbach himself was perfectly happy to accept larger forces when available, but they do rather swamp the gossamer lightness and piquancy of what he actually composed. This newcomer derives from a stage production received enthusiastically at the Châtelet in Paris in September 2000.
The feeling of a stage production pervades the recording in its integration of dialogue and music, as also in the uninhibited singing and playing of Orestes' opening couplets. Marie- Ange Todorovitch performs with appropriately boyish high spirits throughout, and Michel Sénéchal as Ménélas, Laurent Naouri as Agamemnon and François Le Roux as Calchas ensure this recording is cast from strength. Although Felicity Lott's Hélène lacks that distinctive French way of wrapping the voice round the words in her great arias, she succeeded in capturing Paris (the city as well as the Trojan prince).
What appeals especially is her lightness of voice compared with the mezzo tones of many other interpreters. Yet the voice and interpretation that captivate the ear most here are those of Yann Beuron as Pâris. His honeyed tones are heard to absolute perfection throughout, but his pianissimo singing of the final verse of the 'Judgement of Paris' makes it an especially model interpretation.
Moreover, Beuron has music to sing that isn't in any previous recording – a lullaby, complete with dove cooing, preceding the Dream Duet. There's more, too. In the 1865 German version, the scene of the Game of Goose was longer than in the 1864 French original, and here it's longer still. But most importantly, this is a sparkling, beautifully paced recording and is now a clear first choice for what's surely Offenbach's most captivating operetta.” Gramophone Classical Music Guide, 2010

“The wit sparkles, the one-liners are beautifully timed and delivered, and there's none of the 'big opera star does laboured comic turn' heaviness you sometimes hear in this kind of production...Beuron is in wonderful form, floating some delicious pianissimo lines at the top of his tenor” Andrew McGregor, bbc.co.uk, 20th November 2002

“The whole production fizzes and has touches of romantic naughtiness which only the French can bring off with real style...Favouring brisk speeds and light textures, using the period instruments of Les Musiciens du Louvre, Marc Minkowski gives a winning sparkle to this delectable send-up of the classical story.” Penguin Guide, 2011