A trim, at times, almost balletic Falstaff. If that seems a ludicrous contradiction, I should explain that it refers to Dutoit's spirited interpretation of the work, not the central character, though Falstaff himself has shed a few pounds in the process but is no less loveable. Indeed, Dutoit's swift tempo for the second section (at the Boar's Head) has the theme for Falstaff's 'cheerful look and pleasing eye' sounding less like Tovey's understandable misunderstanding of it as ''blown up like a bladder with sighing and grief''. The trimming down process is abetted by the Montreal sound, with lean, agile strings and incisive brass (the horns are magnificent). Some may feel a lack of warmth in the characterization. I certainly felt that the first presentation of Prince Harry's theme (0'40'') could have done with a richer string sonority. Doubtless, too, there will be collectors who, at moments, miss the generous humanity of Barbirolli, or the Straussian brilliance of Solti. And although Mackerras is wonderful in the dream interludes and Falstaff's death, the start of his fourth section, with Falstaff's rush to London only to be rejected by the new King, is short on teeming excitement and anticipation. (Gramophone)
A strong follow-up to Mariah Carey's self-titled debut album, Emotions puts to rest any concern of a "sophomore slump." The same mix of dance/R&B/ballads that gave Carey's debut such tremendous auditory appeal can be found with equal strength on this release, indicating that placing firm belief in the notion of "Why fool with success?" may, in fact, have its merits. Most notably, the gospel influences of "If It's Over" (with music co-written by Carole King), the yearning cries for a lost love in "Can't Let Go," and the catchy, upbeat title track all serve to send the listener on a musical journey filled with varying emotions. However, the one emotion that prevails upon completion of the album is definitely a positive one: satisfaction.