Mahler: Urlicht (orig. in Des Knaben Wunderhorn)

“Schwanewilms's voice is an acquired taste; those who crave full-bodied Italianate lushness of tone will not 'get' the singing of this gifted German jugendlich dramatisch soprano...The words invariably come across in a refreshingly direct, unfussy manner...this is a highly pleasurable programme that can be warmly welcomed by those who crave beautifully vocalized, unusually thoughtful Lieder performances.” International Record Review, February 2013

“Evidence of her artistry is everywhere apparent. Her phrasing is seamless, with none of the audible words-versus-music negotiations noticeable even in fine singers. Her vocal quality is not merely pure but powerful, though in her case that powers stays mostly in reserve until summoned by the music...Schwanewilms coaxes the listener into her realm with the subtlety of a whisper.” Gramophone Magazine, March 2013

“Schwanewilms's interpretations are regularly imaginative, her singing musicianly, though not all of her vocalism matches her good intentions. There's sometimes...an edge to her tone that combines with a lack of vocal substance higher up...Elsewhere her wide-ranging instrument is used with artistic insight...she brings depth and command to Mahler's 'Das himmlische Leben', nicely capturing its blend of innocence and sophistication.” BBC Music Magazine, May 2013 ***

“this is a unique sequence, showing that most of the earliest settings which sit alongside the more familiar numbers, usually linked by theme, are just as finely-wrought and no less typical of Mahler's most haunting preoccupations.” BBC Music Magazine, Christmas 2012 ****

“His word-painting is superb, replacing sheer vocal firepower wityh more Lieder-friendly qualities of agility , precision and nuance. Poetic narrative is everywhere apparent...Holzmair seems to make the case for Mahler inheriting the Lieder mantle from Schumann...for nearly 80 minutes you can listen to Mahler's melodies and barely recall that they exist in an orchestral version” Gramophone Magazine, December 2012

“Sarah Connolly, with her glowing, supple mezzo and unaffected directness, is well-nigh ideal” Daily Telegraph

“there is the superlative singing of Dietrich Henschel, who seems to go from strength to strength in Lieder.” Gramophone Magazine, November 2006

“[Graham's] contribution is unquestionably the highlight. She brings great depth of feeling to Liebst du um Schönheit (If you love for beauty) and Um Mitternacht (At Midnight). Indeed, I can’t think of a finer contemporary female interpreter of these songs on disc. Please, someone, record her in the other two cycles.” Sunday Times, 19th September 2010 ***

“'Um mitternacht' works best, with gleaming voice complemented by superb San Francisco clarinets and trumpets - glorious recorded perspectives, too, as ever from this source.” BBC Music Magazine, November 2010 **/***

“From the opening bars of the Wayfarer songs, Hampson demonstrates his mettle as a gifted storyteller, his warm, legato tones awash with dramatic colour. Susan Graham's mezzo brings similar tonal and dramatic light and shade to the Rückert-Lieder. The orchestra has this music just as sussed.” Classic FM Magazine, November 2010 *****

“It is unusual to hear a baritone sing "Urlicht" or indeed "Wo die schönen Trompeten blasen", but that Housman-like tale is here most sympathetically unfolded...[Hampson's] is a performance of terrific presence and power.” Gramophone Magazine, November 2010

“Stephan Genz's light, warm and cultured baritone is especially fine in reflecting the ghost voices and moonlight serenades of Mahler's folk-inspired anthology. Yet more attack is surely needed for the prisoner in the tower and the what should be the increasingly desperate pleas of the starving child is 'Das irdische Leben'.” BBC Music Magazine, February 2008 ***

“Both "Dras irdische Leben" and "Der Tambourg'sell" - two starkly different songs - have a gentle lyricism that's deeply affecting. Genz is partnered by Roger Vignoles, whose playing is so sharply characterised and finely weighted that I hardly missed the better-known orchestral version.” Gramophone Magazine, July 2008

“The two singers have here superb voices, and Philip Herreweghe's accompaniments leave almost nothing to be desired…” BBC Music Magazine, September 2006 ****

“Sarah Connolly, with her glowing, supple mezzo and unaffected directness, is well-nigh ideal” Daily Telegraph

“…Herreweghe's keenly judged tempi and delicate, chamber-like way with the orchestral part… allows us, in a well ventilated recording, to hear every detail of the magical score finely played by the conductor's own orchestra. …Dietrich Henschel… brings to the dramatic songs a lively feeling for the texts and a vocal brio that places him among the most convincing male advocates in this work. ...Henschel's partner is the admirably alert and warm-toned Sarah Connolly.” Gramophone Magazine, November 2006

“As so often, the veteran 'modernist' proves himself a highly perceptive Mahlerian...[Muller-Brachmann's] penetrating, never heavy bass-baritone is pleasing and he is blessed with fine diction too, projecting the humour of 'Lob des hohen Verstandes' to excellent effect...admirers of Gielen's Mahler should not hesitate to acquire what is his belated first recording of these songs.” Gramophone Magazine, April 2012