Liszt: Die Lorelei

“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 ***

“a magnificent tribute to the art of Margaret Price, with incomparable performances of the Petrarch Sonnets and Die Loreley.” BBC Music Magazine, April 2012 *****

“Diana Damrau has a fine line in floated high notes, and the lyrical songs (the majority of those recorded here) benefit from her sweet tone...Helmut Deutsch's accompaniments are of the highest quality, setting the mood from the very beginning of each song and managing Liszt's virtuoso figuration with apparent ease.” BBC Music Magazine, January 2012 ****

“A gifted Lieder singer with a flawlessly even and shining sound, Damrau knows exactly how to draw the listener into the drama of each song...Deutsch proves yet again what a great accompanist he is too: his insights into the atmosphere and psychology of these works are as compelling as Damrau's.” Classic FM Magazine, February 2012 *****

“The particular qualities of Damrau's lustrous coloratura lend an aura of ethereal beauty to several of her interpretations...Damrau brings a languid voluptuousness to the more famous love songs...There are times when one wishes Damrau would abandon her consistently gorgeous sound production to focus instead on a more vivid characterization of the text. In terms of pure singing, these interpretations are undeniably beautiful.” International Record Review, February 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 great bass-baritone in his prime with Brahmasian solemnity and operatic Liszt that suit him perfectly, partnered by one of the most supportive and handsome-surrounding Lieder pianists.” BBC Music Magazine, September 2008 *****

“A notable solo debut for the Yellow Label from a young master of Lieder and a programme that impresses for its imaginative selection of Brahms and Liszt” Gramophone Magazine

“A rich ripe peach of a recital, and in case that suggests something altogether too sweet and lush to satisfy a fastidious taste it should immediately be added that the soprano's tone is fresh, her responsiveness to words keen, the pianist's touch very evidently guided by a refined, lively intelligence, and the programme a delight in the variety as well as the generous melodic appeal of its contents” Gramophone Magazine