Gounod: Vous qui faite l'endormie (from Faust) (Mephistopheles's Serenade)

“Probably the premier basso cantante of our time, René Pape is a good god, a good king and a still better singer…” Gramophone Magazine, December 2008

“Very welcome on this recording… are less usual arias from Mefestofele… and Dvorák's Rusalka… with brisk support provided throughout by the Dresden Saatskapelle and Staatsopernchor under the direction of Sebastian Weigle, this is a fine showcase.” BBC Music Magazine, November 2008 ****

“Schrott knows how to change his voice’s colour, phrase by phrase, sometimes word by word, especially if the word is “Susannah”. As Figaro in the Mozart selections he’s attractively light and dancing; he can also drip with honey (Voici des roses from La Damnation de Faust) and scowl himself black (Meyerbeer’s Bertram, bound for Hell). Intimacy comes as easily, too, as the loud address: Philip’s monologue from Don Carlos (sung in French) conveys with unusual penetration the sense of someone thinking out loud, quiet and fearful. Blips occur. His articulation fails in the racing words of the Don’s Fin ch’han dal vino. And with the wind in his sails, at the higher altitudes, he begins to suggest a foghorn, settling too rapidly for broad effects. Maybe time and experience will iron out these kinks.” The Times, 25th July 2008 ****

“Don Giovanni’s Serenade and so-called Champagne aria, Leporello’s Catalogue song and all three of Figaro’s big solos feature here, but they are randomly delivered, in a scrambled, nonsensical order...Schrott is suave and honeyed in the serenades from Don Giovanni and Gounod’s Faust, but his singing lacks variety of colour and dynamics” Sunday Times, 27th July 2008 ***

“As compilations go, this album from the newish Uruguayan opera star seems almost arbitrary in its balance and, at times, in its quality. Half the disc is devoted to Mozart and the three Da Ponte roles that made Schrott's name...But he often fares better in the quieter, more beguiling moments than in full flow - not usually the case on stage. Schrott's Verdi is less distinctive, but three arias from Berlioz, Gounod and Meyerbeer bring out the dynamic devil in him.” The Observer, 3rd August 2008

“…has an exceptionally beautiful voice, which he uses to fine effect in some of these arias. Philippe's great aria from Don Carlos is impressive, so is Procida's from Les vêpres siciliennes, and his Berlioz, Gounod and Meyerbeer are striking too.” BBC Music Magazine, August 2008 ****

“Here, in all probability, is the basso cantante par excellence missing since the heyday of Samuel Ramey. The fine, resonant voice, wide in range, firm and even in delivery, is at home in a variety of styles.” Gramophone Magazine, 2008 Awards Issue

“…it's the Verdi group that is the heart of the first half. "In solitaria stanza", with its main theme closely resembling "Tacea la notte" from Il trovatore, must rank as one of the loveliest things she has recorded. …the Massenet "Elégie"… benefits from Gheorghiu's operatic experience: here are words and music given equal importance to make a miniature drama. ...throughout the recital, Jeff Cohen provides a sensitive and idiomatic accompaniment. The recording catches the mood; it was obviously a fun evening.” Gramophone Magazine, November 2007