Notes & Reviews:
BBC Music Magazine, December 2012
He is heart-rending in the Tannhauser extracts, dancing in the Korngold and moving as Berg's Wozzeck.
[Goerne's] powerful Count [makes for] a strong, wilful presence ... Faust's solo from the end of the second part of Schumann's work, the Spielmann's lovely piece from the close of the Humperdinck and the aria from Die tote Stadt are all sung with feeling and beauty, especially the Korngold, which is wholly beguiling, the real piece of gold in this programme.
This is a voice with a honeyed, mellow beauty right through its range, and considerable power when needed'.
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