Liszt: Enfant, si j'étais roi (Hugo), S283

“…Vidal's setting of "Chant d'exil"… provides the emotional high-point of the recital. This beautiful song, in which the poet regrets his exile from his homeland, is given a heartfelt rendition by Wolff and his accompanist, Trung Sam, who provides sterling support throughout. This is a lovely disc in which Wolff proves himself worthy of comparison with the past great baritone interpreters of the mélodie.” Gramophone Magazine, February 2009

“Victor Hugo notoriously hated it when anyone tried to set his work to music. Opera composers, by and large, ignored his protestations, though others tended to be a bit more circumspect. This exceptional recital by bass-baritone Konstantin Wolff and pianist Trung Sam chronicles the attempts of francophone song composers to grapple with Hugo's poetry both during and after his lifetime. It's a disc of surprises and occasional failures. Hugo clearly inspired most composers to give of their best, as well as to stray, on occasion, into unfamiliar territory: Saint-Saëns is represented by a clutch of unknown songs that should be repertory pieces, and Fauré gets uncharacteristically angry over the political implications of L'Absent. Lalo, as one might expect, turns Hugo into an impishly blatant eroticist, while Reynaldo Hahn is altogether more fin de siècle and discreet. Only Paul Vidal's settings seem inappropriately delicate. The wide vocal range of Liszt's famous Oh! Quand Je Dors, lies a bit awkwardly for Wolff, who otherwise sings with a virile, articulate elegance that is absolutely right both for the music and for Hugo's poetry. As an accompanist, Sam is spectacular, but never intrusive.” The Guardian, 13th February 2009

“Liszt's songs are an often-forgotten part of his output. Here are 22 of them, in six languages charting his travels as an internationally renowned virtuoso. Beautifully performed.” BBC Music Magazine, March 2012

“you could say that Sylvia Sass had taken the best from Callas's and Sutherland's Norma … ‘Sempre libera’, which sounds appropriately hectic, is fearlessly done (with a tender, ardent incursion from Ian Caley as Alfredo) … her vibrant ‘Suicidio’ is undeniably exciting … The Decca recording is faultless.” Gramophone Magazine

“The very first phrases of the opening aria (Turandot’s ‘In questa reggia’, no less) command attention and let you know that something rather special has arrived on the scene. And as the Puccini arias follow one another it becomes quite clear that here is an exceptional singer, distinctive in timbre, distinguished in artistry. The voice glitters rather than soothes, shines rather than warms. It is powerful, has a wide range, and is firmly placed. The tone can be brilliantly luminous (as in the Turandot aria), or may acquire a deeper kind of radiance (as in the ‘Vissi d’arte’ that follows it).” Gramophone Magazine

“Entering into every nuance of the songs’ moods, and employing a dynamic range from the merest whisper to a full-blooded climax, Sylvia Sass makes the utmost of their not very rewarding vocal line; but the success of this performance is assured by the subtle playing of András Schiff, who conjures up beautiful sounds from the swirling figurations [Bartók] … Die Loreley is an evocative scena, sung imaginatively (and with much flexibility of pace) by Sass, bringing into play a vocal quality as seductive as that of the siren herself; and her gentle singing of the serenade Kling leise, mein Lied would melt the most obdurate heart. … all the performances here are unusually illuminating and satisfying; and the recording is excellent.” Gramophone Magazine (Liszt, Bartók)

“The 20 songs recorded here cover a vast range of language and expression… Burnside is a faultless guide along this journey, exhibiting power when required but never forcing either tone or pace; and his pianissimo playing reminds me of Gerald Moore's… The singing too is exemplary, with Rebecca Evans's floated high notes things of exquisite beauty.” BBC Music Magazine, Christmas 2009 *****

“The Three Sonnets are sung by Rebecca Evans - surprisingly, perhaps, but very beautifully. …her soft high tones, as in the last phrase of the first sonnet, are magically poised. Kennedy, too, is at his best, masterly indeed in "Die Loreley". Burnside himself, presiding spirit throughout, accompanies expertly.” Gramophone Magazine, October 2009