“‘Karg lives each nuance of the abandoned heroine’s fluctuating emotions, from vengeful outrage to morbid pathos. She burns into the Italian consonants in the recitative, spins a tender legato in the aria’s slow opening section, then flares thrillingly into accusatory fury in the Allegro. Throughout, Karg holds vocal finesse and expressive intensity in near-ideal equipoise’…’Karg brings it alive in a way I have never heard before, making the coloratura sound desperate, in the right sense, rather than merely brilliant’…’Karg brings each of these distraught heroines excitingly, individually alive'”
Richard Wigmore, Gramophone Magazine, July 2015
“Karg’s soprano has a metallic gleam that cuts through the buoyant ensemble playing of Arcangelo, who, directed by Jonathan Cohen, are responsive to all the scenery-chewing moodswings.”
Erica Jeal, The Guardian, 25 June 2015
“Well planned and superbly executed, with nothing putting Karg beyond her comfort zone, even as she steps into a dramatic fach, which she says is new to her. It’s a wonderfully clear, expressive soprano, beautifully accompanied by Arcangelo.”
Andrew McGregor, BBC Radio 3 CD Review, 12 June 2015
“There’s a lovely sense of exploration and discovery about this project, both in terms of the repertoire and Karg’s own vocal qualities…we’re clearly in the presence of a singer who knows her instrument inside out and husbands her resources judiciously in service of the music rather than blowing a gasket trying to emulate her predecessors.”
Katherine Cooper, Presto Classical, 22 June 2015
“For lovers of quality singing, this is simply unmissable, and a brilliant addition to Ms Karg’s growing discography.”
Europadisc – CD of the Week
“‘It’s a sign of the times that the outstanding light lyric soprano of her generation – unrivalled in Mozart’s and Strauss’s ‘soubrette’ roles, and a lieder interpreter second to none – records not for DG, Decca or Sony, but for the niche label Berlin Classics. Her fourth BC album – and her second recorded with the London period ensemble Arcangelo – comprises recitative and aria sequences tailor-made for specific sopranos as concert repertoire.’…’Karg’s lighter timbre is tested, not uncomfortably, by the music’s range and intensity, but she comes into her own in Mozart’s sublime Ch’io mi scordi di to – his farewell offering to the first Susanna…'”
Hugh Canning, The Sunday Times, 5 July 2015
“This soprano’s latest recital recording of six concert arias has everything one could wish for. Her refined voice is wonderfully pliable, her sense of text acute. Haydn and Mozart dominate, but there’s a welcome push toward repertoire normally associated with a heavier voice in Beethoven’s ‘Ah! perfido’ as well as a rarity, Mendelssohn’s radiant, later stormy ‘Infelice pensier.’ Add the stylish, often tumultuous playing of Mr. Cohen’s period orchestra and a charming guest appearance on fortepiano by Malcolm Martineau in Mozart’s ‘Ch’io mi scordi di te?’ and this disc makes an immediate impression.”
David Allen, The New York Times, 21 July 2015
“I like the courage, the ardour and momentum with which Christiane Karg exceeds the possibilities of the lyric soprano. Without fear and with striking exaltation she addresses a perilous programme on this concert arias disc. She treats the text as the master and sings opera with a technique that remains accurate, precise, and subtle.”
Jean-Charles Hoffelé, Artalinna, 29 July 2015
“Always an exciting singer, Christiane Karg brings fire, grace and intense involvement to these assorted heroines in extremis, not least in her fearless account of Mendelssohn’s over-the-top Moartian pastiche. Everything she does is specific, individual, alive, while the players of Arcangelo match her all the way in dramatic flair.”
Richard Wigmore, Gramophone Magazine, December 2015
Download Publicity Pack 
Share 
