Der Prinz von Homburg

"Henze was the leading composer of German opera in the years after the war but the representation of them in recordings has been patchy, though a few can be found on unofficial live opera labels. This version of Der Prinz von Homburg turns out to be the first on CD ... The music is in an eclectic idiom which draws both on German musical traditions, such as Mahler and Berg ... The performance I would describe as workman-like. The cast is largely German, as one would expect, with the exception of the title role, which is taken by Robin Adams ... He makes an eloquent Homburg ... Vera-Lotte Böcker makes an affecting Natalie, and of the other parts I was particularly taken with Moritz Kallenberg's Hohenzollern ... Cornelius Meister conducts with authority and the orchestra plays well".

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"The score is varied and impressive ... Stephan Kimmig's production is less persuasive than the work itself ... There is a certain problematic strangeness in both play and opera, so why not reflect that rather than explain it away? ... The cast serves the work well. Robin Adams as Homburg carries the day, highly committed to his demanding role, rising to every vocal and histrionic challenge. Vera-Lotte Boecker, as Natalie sings a musically wide-ranging part very well and acts convincingly ... The support roles are well taken in an even cast. The Staatsoper Orchestra ... have the most impressive music, especially in their several interludes, and play it very well. Conductor Cornelius Meister has the measure of the piece, and maintains a good balance between singers and pit ... This largely effective musical realisation could yet be a staging post in what one hopes will be a continuing interest by leading opera houses in the works of Hans Werner Henze".

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"Editor's choice: The Prince is beautifully pitched by Robin Adams as a Schumannlike character ... His love interest, largely invented by Bachmann, is Princess Natalie, a high lyric soprano part sung with crystalline control by Vera-Lotte Böcker. In her duets with the Prince and the Elector Henze's inspiration rises highest, and this staging rises with him: like few post-war composers he could write opera for characters who change over the course of a couple of hours, who know themselves better at the end of it, and we are changed a little for knowing them".

"Hans Werner Henzes Kleist-Vertonung Der Prinz von Homburg ist ein immer noch packendes Kammerspiel ... In dieser Stuttgart Aufzeichnung wird die so theatralische, soghafte musik vom Cornelius Meister als scharfzüngiges preussisches Märchen rhetorisch und klanglich überzeugend zum Tönen gebracht ... Trotzdem gehört diese packende Oper einzig dem Prinzen: Robin Adams macht diesen Träumer als sehr heutigen Nerd mit lyrisch kompaktem Bariton plausibel".