Music / kor

War requiem


Reviews (21)


Classics today

2008

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By

Joseph Stevenson

2008

"The emotional tension instead slackens, vitiating the power of the final expression of eternal rest. This alone makes the performance unsuccessful, but it is also undone by weak orchestral and choral forces. The chorus (itself lacking a really full-throated sound) overbalances the orchestra even when the brass should be at full bray. So the big moments (Dies Irae, Sanctus, and Libera Me) fail to overwhelm".


Klassisk

2012, nr. 26

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By

Andrew Mellor

2012, nr. 26

"Tilbage i oktober søgte dirigent Gianandrea Noseda klart at frigøre de mere dramatiske, teatralske elementer i stykket, som han så ofte gør med anden musik med storartede resultater ... Det endelige resultat, kombineret med den indeklemte akustik i Barbican Hall, er en optagelse, der mangler enhver form for følelse af ekspansion og omfavnende humanisme ... Dette tørre og detaljerede tilbud fra Noseda mangler de grundlæggende kvaliteter".


The independent

d. 10. Nov. 2013

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By

Claudia Pritchard

d. 10. Nov. 2013

" Shatteringly moving, superbly sung by Anna Netrebko, Ian Bostridge and Thomas Hampson, this piece is for life, not just for Remembrance Sunday".


MusicWeb international

2013 September

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By

John Quinn (musikanmelder)

2013 September

"This newcomer enters a distinguished field. One element that marks it out immediately is the contribution of Christopher Maltman who gives one of the best, most nuanced performances of the baritone solo role that I've ever heard ... The instrumental playing is superb ... McCreesh yet again shows himself to have full command of very large forces ... This is a very worthy contribution to the Britten centenary celebrations".


BBC music magazine

2013 Christmas

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By

Helen Wallace (musikanmelder)

2013 Christmas

"Maltman seems to me to have that ideal mix of authority and poetry in his approach to the songs ... [McCreesh's] New College choristers have the ideal mix if celestial glow and nimble impatience; his orchestra is wonderfully articulate. And the sound picture has the greatest depth of range and recording ... The profundity and coherence of McCreesh's reading sets a new standard for this work".


Fono Forum

2013 November

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By

Andreas Friesenhagen

2013 November

"Chor und Orchester machen dagegen einen tadellosen Eindruck und verleihen Janson's gewichtigem Britten in jedem Takt fesselnde Präsenz".


Klassisk

2008, nr. 11

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By

Steen Chr. Steensen

2008, nr. 11

"Rilling er bedst kendt for sine glimrende udgaver af barokmusikken ... men her folder han sig ud på en helt ny og voldsom måde ... det er tydeligt, at han brænder for denne musik ... De tre solister er suveræne og stilsikre, koret er formidabel tydeligt i intonation, klang og tekst, og orkestret er eksemplarisk. Mere kan man ikke forlange, men mindre kan heller ikke gøre det, når en verdenskrig skal sones i musik".


BBC music magazine

2012 June

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By

Helen Wallace (musikanmelder)

2012 June

"A taut, riveting version by the formidable Gianandrea Noseda ... Delivers it afresh as a scintillating achievement, which draws together the best in Britten's musical armoury to searing effect ... Sabina Cvilak's soprano has the focus, though not always the required gravitas, while tenor Ian Bostridge brings a piercing sincerity to all his solos ... This is an important issue: Noseda's judgement og pace is unerring, and the orchestra and chorus simply superb".


BBC music magazine

2013 Christmas

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By

Helen Wallace (musikanmelder)

2013 Christmas

"Bostridge has that liquid, Pears-ian shimmer in his voice ... Pappano's secret weapon is Anna Netrebko, whose thrilling steel-cored soprano is a match for Galina Vishnevskaya's ... Pappano ignites the drama, his opening is truly hushed ... his chorus in the Dies Irae snarls".


Fono Forum

2007 Februar

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By

Werner Pfister

2007 Februar

"Kurt Masur dirigiert mit beeindruckendem Weitblick auf die Grossform des Werks; Anthony Dean Griffey singt seinen Part ganz im Stil von Peter Pears, und Gerald Finley setzt seine Samtweiche Prachtstimme mit wohltuender Vollmundigkeit ein. Umso mehr verstört das dramatische Gekeife von Christine Brewer, und das trübt den Gesamteindruck denn doch entsceidend".


BBC music magazine

2006 July

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By

Stephen Johnson (f. 1955)

2006 July

"Kurt Masur is intellectually in control right from the start, but it is only really in the Agnus Dei and Libera me that I felt that he had won the battle for hearts as well as minds ... feels like eavesdropping on an experience that only partly came off".


The gramophone

2013 October

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By

Richard Fairman

2013 October

"Ainsley is almost unbearably tender in 'Move him into the sun' and Maltman, apart from a few moments when he sounds pushed, is thoughtful and restrained. With Susan Gritton proving a clever choice for the soprano soloist, there are no weak links".


International record review

2013 October

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By

Carl Rosman

2013 October

"McCreesh brings clarity and some superb solo singing to his version ... McCreesh's strongest asset here is his attention to detail, casting light on many rarely appreciated corners of Britten's large canvas and making a strong case for the War Requiem's purely musical strengths ".


International record review

2013 December

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By

William Hedley

2013 December

"The choral singing ... is exceptionally fine ... Mark Padmore gets further into the soul of the music, but his singing is spoiled for me by an excessive vibrato".


The gramophone

2013 December

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By

Richard Fairman

2013 December

"I am also drawn back, though, to Jansons's uniquely concentrated recording and will always want that close to hand dor the conductor's grip on detail and the exceptional Gerhaher".


The gramophone

2012 July

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By

Richard Fairman

2012 July

"Gianandrea Noseda's live performance seeks to take the audience on a journey from the edge of consciousness to the blazing fires of the battlefield ... It takes action to galvanise this performance into life and sections as the Dies Irae and the Offertorium are played for all they are worth, their climaxes reinforced by the LSO's brilliant trumpets and cannon-like timpani. While the intensity come and goes in the Latin Mass, the Wilfred Owen settings are consistently involving".


International record review

2012 May

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By

Mark Pullinger

2012 May

"While any new recording of the War Requiem is going to be overshadowed by Britten's own, this performance is incredibly moving and as fine a modern account as one could wish for".


The gramophone

2013 December

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By

Richard Fairman

2013 December

"Pappano is all open-hearted emotion. He achieves an Italianate sense of drama, not inappropriately reminiscent of his Verdi, in the Latin sections of the Mass, where Anna Netrebko's proud soprano - with a slight Russian edge, like Vishnevskaya, but not too much - adds a patina of glamour".


International record review

2013 December

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By

William Hedley

2013 December

"The choral singing in both performances [Jansons (BR Klassik)/Pappano] is exceptionally fine ... There is nothing to choose between the two orchestras, as both are superb ... Both conductors marshal their forces wiht supreme mastery. Jansons takes more time over the work than Pappano ... Both performances offer a starry line-up of soloists. Anne Netrebko has all the vocal power the work requires, along with tonal beauty".


Jyllands-posten

d. 16. Feb. 1999

By

d. 16. Feb. 1999


Weekendavisen

19907-09

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19907-09