Mahler: Das himmlische Leben

“Fuchs’ bright soprano radiates character and sensitivity. An enchanting disc.” Financial Times, 16th March 2013 ****

“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 ***

“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

“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

“[Hampson] refines his forces to those of the Wiener Virtuosen...This has the effect of creating a wonderfully fresh imaginative take on the songs...these slimmer forces really put a spring in the music's step...And his choice of tempos...is often inspired...A constantly absorbing recital.” BBC Music Magazine, January 2011 ****

“no performer has ever had a more comprehensive knowledge of the manuscript sources...Instrumentally speaking, the results are fabulous...Long-term admirers should not expect the immaculate finish...of the singer's youth. Instead we have a more autumnal brand of vocalisation, one that arguably suits these feisty, individualistic songs of ordinary folk.” Gramophone Magazine, February 2011

“Mahler’s whole world is here, rendered in a fabulously piercing and tender performance...It’s partly to do with the reduced chamber scoring used by the Vienna soloists, which makes Mahler’s orchestral colours seem unusually vivid. But Hampson is also on superb form, catching the music’s emotional complication as well as its folk-like simplicity.” The Telegraph, 4th February 2011 *****

“The principal revelations are instrumental, with sinewy, acerbic textures steering us into a world closer to German expressionism than post-romanticism.” The Guardian, 10th March 2011 ***

“Volle's military narratives are crisp and direct, with splendid fanfaring from the Cologne players, rather than heavy-laden...there's plenty of point and with from both the spotlit orchestral solos and the singers throughout.” BBC Music Magazine, December 2010 ****

“Stenz provides vivid, no-nonsense direction...Michael Volle matches Fischer-Dieskau in "Revelge"...there is delight to be had from the operetta-like duets and in the prisoner-in-the-tower song where [Oelze] captures to perfection the schmeichlerisch ("flattering") quality Mahler requests” Gramophone Magazine, November 2010

“Both have voices that are ideally suited to this music and the poetry: they're not too knowing but are careful to sing what's written, and both have the ability to colour their voices most sensitively...Stenz is alert throughout to telling orchestral details without ever drawing the wrong kind of attention to them: this is remarkable Mahler conducting, full of imagination and colour.” International Record Review, January 2011

“Oelze's performance is one of silvery radiance, with drama and humour aplenty. Volle delivers a highly atmospheric Tambourgesell, his dynamics and dramatic enunciation spinning a mood weighted with nervous doom. The orchestra is particularly light of touch, dancing and making love with youthful joy, but turning on the weight and gravitas when required.” Classic FM Magazine, March 2011 ****

“…Damrau's programme is a clear, intelligent blend of robust innocence and subtly disquieting experience; her performances are informed by a candour nicely lit in the recording, a well-coloured lower register and an obvious, unfussy delight in the meaning of the texts.” BBC Music Magazine, September 2006 ****

“The whole thing is testament to the astonishing versatility of an artist who just goes from strength to strength” The Guardian