“…Bella Adamova has an amazingly impressive voice that explores each word and a diction that allowed me to find where in any line she was even when singing in Czech or Russian, despite my knowledge of each being rudimentary… She is an obvious name to watch and her accompanist Michael Gees is a beautifully measured and entirely sympathetic partner.”
MusicWeb International, January 2024
“I didn’t know what to expect when I looked at this album, but it didn’t take me long to realize that this is an imaginative and excellent program. Adamova’s performance is dreamy and entrancing. Her collaboration with the excellent Michael Gees is fruitful. Abamova is listed here as a contralto and elsewhere as a mezzo. I think mezzo is accurate. This is my first opportunity hear her, and I look forward to future recordings from her.”
American Record Guide, February 2024
“Both sets prove rewarding, with the treatments of the composers' material gripping and the duo's flights of fancy as riveting… In Gees, Adamova has the ideal partner. Never overpowering the singer, he supports her with exquisite attention to every vocal move, and both imprint themselves with authority on all twenty-one selections. While Adamova and Gees execute all four composers' works with conviction, they luxuriate in the Mahler material in particular.”
Textura, March 2024
“Il faut donc comprendre que l’excellente alto Bella Adamova tente de nous faire partager le chemin sinueux de sa vie (née en Russie, élevée à Prague, marquée par différentes cultures) avec ce qui ressemble plus à une playlist qu’à un récital traditionnel. Soit ! L’important est qu’elle réussisse à convaincre par son timbre chaud et somptueux et par la qualité des improvisations sur des textes qu’elle a signés ou empruntés à Anna Akhmatova, Pablo Neruda ou Heinz-Albert Heindrichs. Le livret et ses photos de collages confirment cette volonté de faire entrer l’auditeur dans un univers personnel et kaléidoscopique. Le pianiste allemand Michael Gees est un soutien précieux dans ce parcours expérimental qui, par sa richesse thématique, ne peut laisser indifférent.”
Classica, May 2024
Pavel Haas
Four Songs on Chinese Poetry
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1. | I. I heard the cry of the wild geese | 02:45 | |
2. | Mein Heimweh | 03:52 | |
Modest Petrovich Mussorgsky
The Nursery
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3. | I. With Nanny | 02:20 | |
Benjamin Britten
Folksong Arrangements
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4. | IV. Early one morning | 02:59 | |
Gustav Mahler
Rückert-Lieder
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5. | II. Ich atmet´ einen linden Duft | 02:30 | |
Pavel Haas
Four Songs on Chinese Poetry
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6. | II. In the bamboo grove | 02:08 | |
7. | dis moll | 02:50 | |
Gustav Mahler
Rückert-Lieder
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8. | I. Blicke mir nicht in die Lieder! | 01:43 | |
Benjamin Britten
Folksong Arrangements
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9. | V. The trees they grow so high | 03:48 | |
10. | What the Angels Left | 06:23 | |
Benjamin Britten
Folksong Arrangements
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11. | VI. I wonder as I wander | 03:48 | |
Pavel Haas
Four Songs on Chinese Poetry
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12. | IV. A sleepless night | 03:46 | |
Modest Petrovich Mussorgsky
The Nursery
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13. | II. In the Corner | 02:04 | |
14. | The Queen | 02:56 | |
Gustav Mahler
Rückert-Lieder
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15. | V. Liebst du um Schönheit | 02:54 | |
Pavel Haas
Four Songs on Chinese Poetry
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16. | III. Far is my home, o moon | 05:13 | |
17. | about distance | 02:26 | |
Gustav Mahler
Rückert-Lieder
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18. | III. Ich bin der Welt abhanden gekommen | 06:55 | |
19. | To music | 03:25 | |
Gustav Mahler
Rückert-Lieder
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20. | IV. Um Mitternacht | 06:16 | |
Modest Petrovich Mussorgsky
The Nursery
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21. | IV. With the Doll | 02:26 |