RCA seem on a roll with their operatic recitals. Here is another outright recommendation from that stable with the greatly talented Quasthoff on his best form to date on disc. With a voice hovering usefully between bass and baritone, and a rich, vibrant tone, he reminds me of Ramey at his most convincing but with more colouring in his tone. In what is a taxing recital devoted to concert and opera arias, I find virtually nothing to criticize unless it be slightly tentative low notes in the first two concert pieces, but then in Sarastro’s Act 2 aria those very low notes seem as sonorous as the rest of the voice.
Quasthoff has the versatility and imagination to move easily between roles in the same opera; thus after the Sarastro aria, he shows himself a wholly delightful Papageno, singing with a ready smile in his tone and a nice variety between verses of the bird-catcher’s two songs. Then a suave, seductive Serenade from his Giovanni is followed by an appropriately oily “Madamina” from his Leporello, the voice here reminding me very much of Erich Kunz, high praise indeed. In Figaro he undertakes only the Count and changes coats again, as it were, to exhibit anger and command. From Cosi fan tutte he chooses Guglielmo’s discarded aria “Rivolgete”, which can sound too long, but not when sung with such relish as here.
It’s particularly rewarding to have modern recordings of the four concert arias unaccountably neglected by basses, especially when sung with such warm tone, firm line and pointed diction. So nothing here of the monotony sometimes occasioned by low-voice recitals. Quasthoff couldn’t have better partners than the experienced, seemingly ageless Faerber and his orchestra, prompt in rhythm and well balanced with the voice.'