Casella Alfredo (1883-1947) Italia, Op. 11 Premiere Recording Introduzione, Corale e Marcia, Op. 57 Sinfonia, Op. 63 for orchestra (Symphony n.3) BBC Philharmonic CD and Download
	Petrassi Goffredo (1904-2003) Magnificat Sabina Cvilak soprano Salmo IX Coro Teatro Regio Torino Orchestra Teatro Regio Torino CD and Download
	Verdi Giuseppe VILLAZÓN · VERDI Arien aus / Arias from Un ballo in maschera · Il Corsaro · Don Carlo I due Foscari · Falstaff · I Lombardi Messa da Requiem · Oberto, Conte di San Bonifacio · Rigoletto · La Traviata Brindisi · L'esule · In solitaria stanza Erdmann · Ombuena Orchestra del Teatro Regio di Torino Gianandrea Noseda CD and Download Reviews Verdi is the perfect match for Villazón's ebullient style: the wracked remorse he brings to "Ciel, Che Feci!" from "Conte di San Bonifacio", is the vocal equivalent of weeping. The Duke's cocky promiscuity is evident in every syllable of Rigoletto's "Questo o Quella" and "La Donna è Mobile". Record Review / Andy Gill, Independent (London) / 16. November 2012 -------------------------------------------------------------------------------- . . . he's singing with feeling; singing an intelligent programme, too, . . . Throughout, the greasepaint in Villazón's singing finds a match in the fiery dash of the Orchestra Teatro Regio Torino and its conductor Gianandrea Noseda, always strong on drama, rhythm and colour. And don't miss the Villazón caricature of Verdi inside the packaging: a sweet personal addition to this enjoyable [CD] . . . Record Review / Geoff Brown, The Times (London) / 16. November 2012 -------------------------------------------------------------------------------- The Mexican tenor's enthusiasm is allied to superb technique on a tribute to Verdi that is an impressive taster for the bicentenary of the composer's birth next year . . . [a] powerful homage . . . Record Review / Adrian Thrills, Daily Mail (London) / 16. November 2012 -------------------------------------------------------------------------------- In these arias and songs . . . he still packs more immediacy of emotion than most other singers. There's a real zing of despair and remorse as a man with blood on his hands . . . He's delightfully madcap in a drinking song. He invests the word 'lei' ('her') with extraordinarily quiet tenderness in a love-soaked aria from "Don Carlo". In short, his communication skills are still second to none . . . You get a great account of Verdi's development as a composer in a whistle-stop 60 minutes. It's a fascinating journey by an artist who . . . has something to say. Record Review / Warwick Thompson, Sinfinimusic.com / 26. November 2012 -------------------------------------------------------------------------------- The most satisfying aspect of Mexican tenor Rolando Villazón's anticipatory homage to Verdi . . . is the actual choice of music, which presents snapshot arias encompassing his lifespan, and also includes works outside the operatic canon . . . Villazón, accompanied by the Orchestra Teatro Regio Torino, offers passion and thrills aplenty, enough to offset the odd rough-hewn phrase. Record Review / Ken Walton, Scotsman / 03. December 2012 -------------------------------------------------------------------------------- Sein Tenor klingt wieder prächtig, die Höhen knallen, strahlen mit dem herrlichen Timbre, das den Mexikaner so unverwechselbar macht . . . Bezaubernd, atemberaubend schwer . . . Record Review / Armin Kaumanns, Aachener Zeitung / 03. November 2012 -------------------------------------------------------------------------------- In den Frühwerken wie "Oberto" oder der langen Szene aus der Dogen-Oper "I due Foscari" begeistert Villazón durch seine individuelle und wie immer unmittelbare Vergegenwärtigung, mit der er aus noch wenig charaktervollem Material klingende Individuen formt . . . zu bewundern: wie er gereift ist, wie er sich um Zwischentöne bemüht . . . Record Review / Manuel Brug, Die Welt (Berlin) / 10. November 2012 -------------------------------------------------------------------------------- Zusammen mit dem Orchester des Teatro Regio Torino unter Gianandrea Noseda versteht es Villazón auch aus farbloserem Material viel Charakter herauszuholen . . . [Villazón] zeigt große Gefühle und viel Dramatik, und ist gut bei Stimme. Die hat . . . an Reife gewonnen . . . Verdi ist Emotion pur, wie auch ein Auftritt Rolando Villazóns. Record Review / dpa, Frankfurter Neue Presse / 16. November 2012 -------------------------------------------------------------------------------- Zusammen mit dem Orchester des Teatro Regio Torino unter Gianandrea Noseda versteht es Villazón auch aus farbloserem Material viel Charakter herauszuholen . . . Auf "Villazón Verdi" zeigt der Sänger große Gefühle und viel Dramatik, und sich gut bei Stimme. Die hat . . . an Reife gewonnen, und Villazón bemüht sich um Zwischentöne. Record Review / dpa, Die Zeit (Hamburg) / 16. November 2012 -------------------------------------------------------------------------------- . . . jede Nummer klingt, als sänge Villazón um sein Leben . . . In seiner Generation ist Villazón nach wie vor unerreicht. Einschränkungslos fulminant . . . mit welcher Dramatik Dirigent Gianandrea Noseda den Orchesterpart auflädt. Record Review / Edwin Baumgartner, Wiener Zeitung / 20. November 2012
	Britten Benjamin War Requiem Gianandrea Noseda conductor Ian Bostridge Simon Keenlyside Sabina Cvilak London Symphony Chorus Choir of Eltham College London Symphony Orchestra CD and Download   Reviews ***** 'The LSO and its Chorus are on cracking form, and the soloists are as good as you will get ... Sabina Cvilak sings with a freshness and edge that make you sit up ... Noseda’s dramatic, pulsating account represents another landmark' Financial Times (UK) ***** 'Gianandrea Noseda is an expert in Britten´s music, superiorly conducting this big and sophisticated orchestra ... Sabina Cvilak's superior handling of the difficult soprano part and male colleagues (Bostridge and Keenlyside) ... were both marvelous heirs to Peter Pears and Dietrich Fischer-Dieskau' Rondo (Germany) ***** ‘All of the forces, including the star-studded soloists are excellent, and this 50th-anniversary release of the premiere performance is memorable indeed.’ Audiophile Audition (USA) CD of the Week ‘Noseda proves to be more than a worthy substitute [for Sir Colin Davis], easily encompassing the dramatic scale of the work … Ian Bostridge’s tenor is as individual and idiosyncratic as Pears’s’ Sunday Times (UK) ‘Mr. Noseda, … boldly draws out the score’s operatic elements, as in his stunning account of the fitful Dies Irae, while vividly conveying its overall organic structure … Ms. Cvilak sings with shimmering sound and elegance. In different ways, the ethereal Mr. Bostridge and the commanding Mr. Keenlyside bring alive the dark imagery of Owen’s verse.’ New York Times ‘Noseda offers an account rich in drama and is excellent at knitting together the Latin sections to commentary on war, forging a sense of momentum and cohesion … Noseda paces the music perfectly, drawing playing and singing of great beauty from his forces … this performance is incredibly moving and as fine a modern account as one could wish for … no other orchestra can boast such a pedigree in this work on disc’ International Record Review (UK) 'this is an important issue: Noseda's judgement of pace is unerring, and the orchestra and chorus simply superb' BBC Music Magazine (UK) ‘[Noseda’s] understanding of the relationship between ritual devotion and political anger in Britten's great pacifist statement is marvellously acute …The choral singing is fervent and intense, the playing fierce and sensitive by turns. Sabina Cvilak is thrilling’ The Guardian (UK) ***(3 * max) '[This is] an epic version that doesn’t sacrifice the obvious emotion of the choral passages' 'une version porteuse d’un souffle épique évident sans sacrifier l’émotion des passages choraux’ Point de Vue (France) ‘The LSO and the London Symphony Chorus are the performance’s rock: they start on top form and stay that way. Another essential recording’ The Times (UK) ‘a deeply moving account of this thought-provoking piece’ Presto Classical (UK) 'Gianandrea Noseda's interpretation is notable for the way he plays his cards very close to the vest. This is a purposeful, efficient performance... Bostridge and Keenlyside prove to be optimal casting for their solos... The chorus of the London Symphony seconds Noseda's conception to the letter.' Opera News (USA) 'ein echtes Hörabenteuer (a true listening adventure)' Neue Presse (Germany) ‘The concert recording is technically excellent and is as well produced as it is musically great. This is a great orchestra with two excellent choirs - the London Symphony Chorus and the Children's Choir of Eltham College - with Sabina Cvilak, Ian Bostridge and Simon Keenlyside three outstanding soloists and, finally, a conductor who sentimentalized this great work with a moving, gripping force’ BR Klassik (Germany) Recording of the Month MDT.co.uk 'Noseda as well as many of today’s other conductors including Simon Rattle approaches Britten’s music in a much more expressive and contemporary way […] The tenor Ian Bostridge proves himself a congenial successor of the unforgotten Peter Pears. The soprano Sabina Cvilak, with her beautiful singing, outclasses her colleague Galina Vishnevskaya' Aachener Nachrichten (Germany) ‘In these passages two of the most capable British singers – tenor Ian Bostridge and baritone Simon Keenlyside – fascinate with bitterness and lyricism, defamation (?) and lust for life’ Frankenpost (Germany) ‘Die Überzeugungskraft dieser Einspielung stammt nicht zuletzt von den hervorragenden Solisten - Sopranistin Sabina Cvilak, Tenor Ian Bostridge und Bass Simon Keenlyside sowie dem Knabenchor Eltham College Choir’ (‘The persuasiveness of this recording is also owed to the outstanding soloists – the soprano Sabina Cvilak, the tenor Ian Bostridge and the bass Simon Keenlyside as well as the Choir of Eltham College’) Musikwoche (Germany) ‚Noseda geht expressiver und diesseitiger an die Musik heran als Britten. Noseda setzt mit dem London Symphony Chorus streckenweise opernhafte Akzente. Der Tenor Ian Bostridge empfiehlt sich als kongenialer Nachfolger des unvergessenen Peter Pears‘ (‘Noseda approaches Britten’s music in a much more expressive and contemporary way. At times he sets operatic accents with the London Symphony Chorus. The tenor Ian Bostridge proves himself a congenial successor of the unforgotten Peter Pears’) Westdeutsche Allegemeine Zeitung (Germany) ‘Dass der Gesamtcharakter der Aufnahme dennoch zurückhaltend und intim ist, spricht für die Meisterschaft dieses Dirigenten‘ (‘The fact that the overall character of this new recording is charming yet intimate speaks volumes for the musical leadership abilities of this conductor’) NDR Kultur (Germany) ‘fand das "War Requiem" nun einen perfekt geformten Klangkörper für diese genuin englische Neuaufnahme ... Das Trio harmoniert ohne Konkurrenzkampf, es addiert sich in der Interpretation zu mehr als einer Summe der Teile ... 90 spannende Minuten des Schmerzes und der Trauer abläuft, in der aber doch Zuversicht und Hoffnung siegen‘ - ’the “War Requiem” has found a worthy, perfectly formed orchestra for this genuinely English recording … The trio of soloists work together in perfect harmony and improve the quality by more than 100% … 90 gripping minutes of pain and grief in which, however, confidence and hope triumph in the end’ Spiegel (online) (Germany) ‘Das Oratorium ist überwältigend, intensiv, es mischt die lateinische Totenmesse mit Gedichten von Wilfred Owen. Jetzt hat das London Symphony Orchestra unter Gianandrea Noseda mit den Solisten Sabina Cvilak, Ian Bostridge und Simon Keenlyside das Werk vermutlich unübertrefflich eingespielt‘ – ‘The oratorio is magnificent, intense and combines the Latin requiem mass with poems of Wilfred Owen. The London Symphony Orchestra with the conductor Gianandrea Noseda and the soloists Sabina Cvilak, Ian Bostridge and Simon Keenlyside has released a probably unrivalled recording of this work’ Rheinische Post (Germany) ‘Gianandrea Noseda,conducting the London Symphony Orchestra and Chorus, presents a full-blooded rendition of Britten’s War Requiem. Featuring a stellar line-up of soloists, including Ian Bostridge, Simon Keenlyside and Sabina Cvilak, as well the Choir of Eltham College this recording sets a new benchmark for this epic work. Incredible orchestral playing impeccable singing. Highly recommended’ The Northern Echo (UK) 'the London Symphony Orchestra and Chorus, and the Choir of Eltham College give a stunning performance. They capture the desperate, brutal atmosphere that often prevails in this work, as well as the vulnerable, beseeching and all-too-human pleas beneath its roiling surfaces' NJ.com (US) Concert Reviews ‘Noseda’s unashamedly dramatic interpretation held the audience transfixed. It was all so vivid … an overwhelming evocation of the grief, the waste and the pity of war’ The Times (UK) ‘Noseda marshalled the finest War Requiem that I have heard. He showed total control of Britten’s vast structure … The performance was also an acutely expressive rendition of a piece that is too often handled as a technical tour de force’ The New Yorker (US)