Penguin Guide Rosette Winners

“The set is a triumph of scholarship, musicianship and managerial enterprise. At the price, it is irresistible.” Gramophone Magazine

“one of the most sparkling and totally successful live opera recordings available...Abbado's brilliance and sympathy draw the musical threads compellingly together with the help of superb, totally committed playing from the Chamber Orchestra of Europe” Penguin Guide, 2011 edition

“Any frisson between the lovers is supplied by Rolando Villazón's impassioned, impulsive, gloriously sung Rodolfo. Fellow Bohemians Marcello and Schaunard are lively and quick-witted, though Colline tends to wobble in his "coat" aria. Nicole Cabell sings with gusto in Musetta's irresistible waltz song. Without short-changing the moments of extreme tenderness and pathos, De Billy conducts with youthful ardour and an acute feeling for the score's variegated colours. All the more frustrating, then, that Netrebko's Mimì bears only a sketchy resemblance to Puccini's "soave fanciulla".” The Telegraph, 21st June 2008

“There is...some fine singing to be heard, all from Rolando Villazón, whose Rodolfo is irresistibly ardent and sustained on a wonderfully burnished tone. But Anna Netrebko, the other half of the much-vaunted dream pairing, is detached and profoundly unmoving as Mimi; there's no colour in the voice and no dramatic credibility in her relationship with Rodolfo, although the way in which the recording spotlights each voice destroys all theatricality anyway. The coarse-grained efforts of the Musetta (Nicole Cabell) and the Marcello (Boaz Daniel) to grab their share of the spotlight only make things worse. Some of the tempos that Bertrand de Billy adopts suggests he was trying to get things over as soon as possible.” The Guardian, 23rd May 2008 **

“It is succulently dramatic – a tribute both to the stars’ power and the conductor Bertrand de Billy’s dramatic ability to steer the score at the drop of a note from uproarious jollity to the shiver that spells death. Villazón, of course, comes up to the mike first, bustling through the opening garret scene with an electricity that immediately separates him from Boaz Daniel’s Marcello and the other bohemian chums. Villazón’s Rodolfo radiates Latin heat throughout: every mood, from ripping bravado through tender concern to abject loss, is vigorously yet tastefully conveyed. Frailty may not be Netrebko’s middle name, but she dampens her force sufficiently to be fairly convincing...Finding the right balance between Mimì’s ill health and a diva’s lung power is never easy: Netrebko comes closest in her impressive D’onde lieta in Act III.” The Times, 16th May 2008 ****

“Vividly recorded, vigorously conducted and sung by a distinguished cast still in their relatively youthful prime … This is a recording which takes its place alongside the acknowledged 'classics'. ” Gramophone Magazine, June 2008

“As Rodolfo, Rolando Villazón is magnificent, by turns ardent and angry and there's a stream of bright golden tone in a ringing 'O soave fanciulla'.” BBC Music Magazine, May 2008 ***

“Vividly recorded, vigorously conducted and sung by a distinguished cast still in their relatively youthful prime, it presents the score with an appeal that will be readily felt by newcomers and with a freshness that will make those of riper years feel… well, feel young again.
Act 1 moves quickly up to Mimì's entry. The vigour is not brash or wearing; there are moments of respite, but it is conducted as a symphonic unit, a first-movement allegro giocoso. The love music takes its natural pace, though it adds a silent beat immediately following Mimì's solo and another before the start of 'O soave fanciulla'.
The Second Act registers clearly as a symphonic scherzo, or, in this arrangement where you play the first CD without a break, as an extended Mozartian finale. The various elements – the main solo group, the Christmas Eve crowd, the children (in splendidly disciplined high spirits), the stage band – are all well defined and the great ensemble runs its joyful course so that we can almost feel ourselves to be part of it.
Among the singers, it is important that Marcello has the presence and gaiety to be the life and soul and Boaz Daniel has all of that. Stéphane Degout as Schaunard may be a little too like him for the purposes of the recording but is lively and stylish. The Colline, Vitalij Kowaljow, is less effective. The lovers Anna Netrebko and Rolando Villazón are a famous pair and deservedly so. His voice is richly distinctive, his style genial and ardent. Netrebko is pure-toned and ample in climaxes. As Musetta, Nicole Cabell shows many of the qualities of a well cast Mimì – might Netrebko (a little solid and sturdy in vocal character for the Mimì of these acts) not have made a brilliant Musetta, as Welitsch did? In the remaining acts no such qualms arise.
Netrebko sings with feeling and imagination and Villazón is an inspired, golden-voiced Rodolfo. In fact, these are as finely performed as in any recording. The orchestra play almost as though reading a supplementary libretto, so vivid is their commentary. This is a recording which takes its place alongside the acknowledged 'classics'.” Gramophone Classical Music Guide, 2010

“Villazòn is nigh-on impossible to fault. His sure-footed tenor has a wonderfully vulnerable edge. He clothes the most painful dramatic moments in tears, and the effect is heart-stopping; dripping in Puccinian melodrama and every-bit musical.” Andrew Mellor, bbc.co.uk, 9th May 2008

“This new DG recording is surely the La Boheme for our time. The singing of the two stars...is unforgettable. One needs to say little more, except that Nicole Cabell as Musetta and Boaz Daniel as Marcello are equally memorable.” Penguin Guide, 2010 edition ****

“Carolyn Sampson's luminescent soprano, with its easeful enunciation, seemingly instinctive ornamentation, and total lack of self-consciousness captures the bittersweet 'affects' of 'Sweeter than Roses', relishes the shifting tones of voice in the long nocturnal, 'From silent shades', and glows against a single theorbo accompaniment in the great 'Evening Hymn'. The instrumental palette, though limited, is exquisitely tuned to Sampson's voice and to the character of each piece.” BBC Music Magazine, December 2007 ****

“It is immediately obvious from the first few songs that this disc is truly special. Carolyn Sampson's singing is deliciously enjoyable for its sweet tuning, flawless intonation, impeccable stylishness, shapely phrasing of melodic lines and textural awareness.” Gramophone Magazine, December 2007

“Her tone is extraordinarily beautiful: natural, warm and unforced, with almost superhuman vocal athleticism” American Record Guide

“It is immediately obvious from the first few songs that this disc is truly special. Carolyn Sampson's singing is deliciously enjoyable for its sweet tuning, flawless intonation, impeccable stylishness, shapely phrasing of melodic lines and textual awareness. Each of these 19 songs, mostly taken from Purcell's operas and music for theatre plays, are given judicious performances.
The programme admirably shows the variety of characteristics and styles in Purcell's writing, and Sampson achieves the perfect degree of joyful radiance, seductiveness, witty comment or bittersweet melancholy in each song. 'Sweeter than roses' is an old warhorse for early music singers, but the poetry has seldom seemed so personal as it does in Sampson's heart-rending rendition. The Plaint from TheFairy Queen is beautifully done and the line 'he's gone and I shall never see him more' is remarkable for its stylish precision and emotional truthfulness (the performance is also notable for Sarah Sexton's superb solo violin-playing).
The supporting players always sound as if they are fully interested in the subtle nuances of the music. Well known favourites such as 'Music for a while', 'Fairest isle' and 'I attempt from love's sickness to fly' are excellently done, but several of the relatively obscure songs ('The fatal hour' and 'From silent shades') are shown to be equally rewarding and engaging. First-class new recordings of Purcell's music are much too rare, and this one deserves to be an enormous success.” Gramophone Classical Music Guide, 2010

“This is a totally Italianate performance of both high drama and moving pathos...Alessandrini's instrumental support could not be more telling, and the recording is made in an ideal acoustic.” Penguin Guide, 2011 edition

“An indispensable and self-recommending disc. The lovely Miaskovsky could not be played with greater eloquence and the first Western recording of the Prokofiev (also from the 1950s) sounds as if it was made yesterday.” Gramophone Magazine

“Andrew Litton is obviously in sympathy with this miraculous score, and he has coaxed playing of considerable warmth and character from his Bergen players.” Gramophone Magazine, July 2007

“…a glorious example of Russian romantic virtuosity”Gramophone, December 2004

“Sumptuous of tone, supremely sensitive, Crespin was born to illuminate the art of French song. Whether floating the seductive allure of Ravel or revelling in the wit of Poulenc these recordings were and remain classics.” BBC Music Magazine, November 2006 *****

“Ravel's magically sensuous writing finds the ideal interpreter in Regine Crespin...The sheer richness of tone of the singer's tone does not prevent her from bringing out the delicate languor required by an exquisite song like The enchanted flute...This is ravishing...This CD is one of the great glories of recorded music.” Penguin Guide, 2011 edition