Britten: Sinfonia da Requiem, Op. 20

“There's a real lowering intensity to the first movement [of the Sinfonia da Requiem], and a manic desperation to the second, so that the consolation offered by the finale really seems to have been earned.” The Guardian, 2nd August 2012 ***

“Here are two fine memories of a fruitful tenure...The BBC players respond to fevered yet cogent direction with a rare but palpable intensity.” Sunday Times, 5th August 2012

“there's absolutely no denying the impressive rigour and shrewdly calibrated dynamic control of Belohlavek's meticulously prepared conception...All told, a memorably nourishing and, by the close, profoundly moving display, which is rightly afforded an enthusiastic reception...No doubt about it, this is a release that reflects enormous credit on all concerned.” Gramophone Magazine, October 2012

“here's a timely reminder of the profundity Jiri Bělohlávek could achieve during his impressive years as the BBC Symphony Orchestra's chief conductor...Bělohlávek caps Vaclav Neumann's earlier recording on Supraphon and matches the luminosity of Rafael Kubelik's interpretation on Panton” BBC Music Magazine *****

“The Britten receives a fine performance. The doom-laden opening, with its pounding drums, augurs well and you can tell that Bělohlávek has established a firm grip on the music from the outset...Though the performance of Sinfonia da Requiem is a fine one, Bělohlávek’s account of Asrael is finer still...From the outset the BBCSO projects the music strongly and eloquently.” MusicWeb International, August 2012

“Some of Britten's richest vocal chamber pieces, by splendidly idiomatic performers are followed on disc 2 by slightly less exceptional orchestral performances. Still, very good value.” BBC Music Magazine, November 2009 ****

“The Atlanta SO play brilliantly for Runnicles, and aside from coolly matter-of-fact performances of two of Elgar's Pomp and Circumstance marches, the conductor proves a persuasive interpreter of some challenging scores.” Gramophone Magazine, December 2007

“Bedford, who worked with Britten, digs deep into the works psyche and dynamically shapes its dramatic sweep…crisp and impressively clear.” Classic FM Magazine

“The Cello Symphony, written in 1963 as part of a series for the great Russian cellist Mstislav Rostropovich, was the first major sonata-form work written since the Sinfonia. The idea of a struggle between soloist and orchestra, implicit in the traditional concerto, has no part here; it's a conversation between the two. Rostropovich plays with a depth of feeling that has never quite been equalled in other recordings and the playing of the English Chamber Orchestra has great bite. The recording, too, is extraordinarily fine for its years.
From the opening drumbeat the Sinfonia employs a sonata form with dramatic power, although the tone is never fierce or savage; it has an implacable tread and momentum. The central movement, 'Dies irae', however, has a real sense of fury, satirical in its biting comment – the flutter-tongued wind writing rattling its defiance.
The closing 'Requiem aeternam' is a movement of restrained beauty. The New Philharmonia play superbly. The Cantata misericor-dium was written in 1962 as a commission from the Red Cross. It takes the story of the Good Samaritan and is scored for tenor and baritone soloists, chorus, string quartet and orchestra. It's a universal plea for charity and receives a powerful reading. A must for any Britten enthusiast.” Gramophone Classical Music Guide, 2010