Musik / operaarier

Heroes in love : opera arias


Anmeldelser (21)


The observer

d. 27. juli 2014

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Nicholas Kenyon

d. 27. juli 2014

"His voice is clear, shapely and unfussy, bringing an ideal clarity to Gluck's transparent lines that is well matched by the exciting Greek period ensemble Armonia Atenea".


MusicWeb international

2017 May

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Göran Forsling (f. 1942)

2017 May

"Recording of the month: Camilla Tilling ... has retained her lyrical soprano in eminent shape and her glittering tone and superb technique are as characteristic as I remember from twenty years ago ... Camilla Tilling is certainly a natural Susanna, and it is good to have her assumption of the role documented ... Musica Saeculorum ... Their playing is first class and contributes further to the quality of this disc ... All in all: This is a marvellous disc!".


Politiken

d. 21. okt. 2014

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Henrik Friis (f. 1978)

d. 21. okt. 2014

"Minutiøst og let skrider musikken frem med fast, høj puls, pågående og smukt klingende detaljer ... Med sit stemmeinstrument laver Behle virkelig, virkelig heftige fraseringer med udsmykninger, der slynger sig rundt om meloditonerne i et væk og med rigtig høje landingspladser til kulminationerne".


BBC music magazine

2017 July

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Max Loppert

2017 July

"BBC music opera choice: It's a disc full of fast-flying vocal runs, jagged leaps and show-off turns of phrase, also moments of reflection and starkly simple declamation prefiguring the mature Gluck. The period band La Barocca, under Ruben Jais, matches the singer completely in fieriness of attack. For 18th-century enthusiasts and voice fanciers alike this is, I would say, a must-have CD".


Fono Forum

2018 März

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Johannes Schmitz

2018 März

"Die hier versammelten Stücke stammen überwiegend aus Glucks früher italienischer Zeit ... Die Altistin Sonia Prina führt ihre farbenreiche Prachtstimme kontrolliert durch diese Entdeckungen ... Ihr Timbre ist überaus weich und sinnlich, die Koloraturen laufen, die Tiefe ist fulminant - bei Sonia Prina ist Gesant ein körperliches Ereignis ... Die Klangbalance zwischen dem Instrumentalensemble und der Sängerin ist sehr gut".


Fono Forum

2017 Mai

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Johannes Schmitz

2017 Mai

"Nichts wirkt konventionell oder gestelzt, Tillings Gluck lebt, ihr Mozart sowieso: das Dramatisierende der Fiodiligi, das mädchenhaft Ehrliche bei Susanna, der Selbstzweifel der Armide, die vornehme Klage der Iphigénie. Diese CD öffnet die Ohren für einen spannenden Vergleich, den Gluck mit diesen Fürsprechern locker besteht".


BBC music magazine

2017 May

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Max Loppert

2017 May

"BBC music opera choice: In this outstandingly accomplished selection of 18th-century operatic arias, Camilla Tilling demonstrates just how rewarding such albums can be when executed with the most genuine kind of musico-dramatic artistry ... Tilling's fresh-sounding soprano is, on this showing, a protean Classical instrument ... but it's the sense each performance creates that all these women have been lived in 'on the inside' that makes this CD a truly remarkable achievement".


Diapason

2017 mai

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Jean-Philippe Grosperrin

2017 mai


Fono Forum

2014 November

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Björn Woll

2014 November

"Valer Sabadus hat sich in den letzen Jahren zu einem der besten Countertenöre unserer Tage entwickelt, das zeigt auch seine aktuelle CD ... Das Hören der Platte [ist] ein wahrlich kurzweiliges Vergnüten. Nicht weniger Lob gebührt dabei der Münchner Hofkapelle unter Alessandro de Marchi, die den Sänger farbenfroh begleitet".


Fono Forum

2014 August

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Christoph Zimmermann

2014 August

"Daniel Behle bietet eine Arien-Auswahl vor allem aus unbekannten Bühnenwerken ... Behles hell-maskuliner Tenor, sattelfest bei trillern und Staccati, klangsicher in Höhe wie Tiefe, interpretiert stilversiert, gleichzeitig mit eminent theatralischem Instinkt".


Diapason

2014 septembre

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Jean-Philippe Grosperrin

2014 septembre


BBC music magazine

2014 November

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Michael Tanner (musikanmelder)

2014 November

"It is a delight to welcome ... the versatile Daniel Behle. Unfortunately, of the 11 arias he sings, the first eight and the last one belong to what is known as the pre-reform Gluck ... So this disc mainly represents things that Gluck could do as well as other people, but not the things for which he deserves to be celebrated".


The gramophone

2017 August

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Lindsay Kemp

2017 August

"This is perfect stuff for Sonia Prina, whose firm, dark voice, wide tessitura and Olympically agile technique allow her to combine dazzling vocal virtuosity with compelling dramatic expression ... I feel that she reveals more of Gluck's genius than a smoother, perhaps more complacent singer might. Support from laBarocca under Ruben Jais is keen".


Opus

2017, nr. 74

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Hanna Höglund

2017, nr. 74

"En riktig feel-good-skiva. Men den löper oavbrutet risken att få en duktighetsstämpel i pannan med sitt rara kärlekstema och en Tilling som oftare levererar "bäst-i-klassen"-vibbar och perfekta höjdtoner än kropp, smärta ... med operahits från Orfeus och Eurydike, Figaros bröllop och Cosi ... Men så klämmer hon i på franska ... och då är sockersötman som bortblåst ... För det är ju så att varje feel good-berättelse behöver ett visst mått av feel-bad för att lyfta".


The gramophone

2017 May

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Richard Fairman

2017 May

"Camilla Tilling makes a good case for programming arias from Armide and Iphigénie en Tauride alongside the comtemporary Mozart roles of Ilia, Susanna, Countess and Fiordiligi. By and large her selection works well ... Her Susanna and Countess are nicely differentiated ... Of the Gluck, the most engaging is the intensely felt 'Che fiero momento' of Eurydice, a role Tilling has portrayed notably on stage ... Everything here is well judged and sympathetically sung".


Operabladet Ascolta

(2002) 20. årgang nr. 5

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(2002) 20. årgang nr. 5


Berlingske tidende

d. 17. jan. 2002

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d. 17. jan. 2002


Kristeligt dagblad

d. 1. okt. 2001

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d. 1. okt. 2001


The gramophone

2014 September

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David Vickers

2014 September

"Seven Metastasio aria settings showcase the bright playing of Armonia Atenea and Behle's assertive singing ... Behle's precise cadenza and virile embellishments are impressive ... Behle is not quite so comfortable in galant music that require sweeter suppleness ... but he is outstanding in stormier music".