Saturday, August 11, 2012


Magdalena Kozená ofrece una interpretación transparente de las partituras, respetuosa con los diferentes estilos y sometida a las inflexiones del texto, mostrando una voz flexible y de cuidada línea. La cantante se adapta al carácter de cada fragmento, recreando las partituras con solvente naturalidad ... El acompañamiento instrumental del conjunto dirigido por Reinhard Goebel -con instrumentos originales- profundiza en la notable carga expresiva de las piezas, ofreciendo un bello y empastado juego de timbres. --Ópera actual (Barcelona), 01 May 2005

“Kozena gets Lamento's ecstatic, sin-drenched grief into the very texture of her voice” BBC Music Magazine, March 2005

“Kozená's declamatory performance is thrilling . . .” --Gramophone, 01 June 2005

. . . overall the excellent singing of Kozená tips the balance in favor of the disc. The Conti follow the familiar format of alternating recitative and arias, the whole completed with a briliant Alleluia . . . The performance gets off to a fine start, with Kozená's rapt singing of the opening accompanied recitative immediately drawing in the listener. But the first aria finds Goebel up to his old tricks, with chords sliced through with a brusqueness that serves to undermine any Italiante lyricism the singer tries to instill. Bach would doubtless have admired not only the restraint with which Conti handles the rapturous text of the second aria, but also its lovely obligato violin solo, most winningly played by Stephan Schardt. Kozaná's singing of it is gorgeous . . . the highlight of the disc is the wonderful performance of the scena by Bach's second youngest son, Johann Christoph Friedrich Bach . . . The music is through composed and surges with a vivid, passionate intensity that at times brings reminders of Gluck. Kozená responds to the music with glorious freedom and an ardent urgency that culminates in a sensual, barely whispered climax. Goebel is on his best behavior here, too, and the disc is worth hearing for this remarkable word, and its equally remarkable performance. --Fanfare, 01 January 2006

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