Estrenado en Barcelona tres meses después de la muerte de Berg, este Concierto dedicado a ese otro ángel que perdió Alma Mahler (éste concebido con Gropius) es la más alta cima en la breve discografía legada por el tándem Abbado-Orquesta Mozart. Este réquiem con violín obligado se engrandece con el intenso arco de la Faust (coloreado contrapunto), que pinta bajo lágrimas un retrato idílico de la joven repleto de belleza y ternura (entre mujeres todo parece entenderse mejor). Un expresionista Abbado extrae un evocador aliento, inhalando el sublime lamentoso mahleriano, consiguiendo empastar tanta negrura y dar voz propia a todas las secciones de la italianizada agrupación (mágicas maderas recreando el organístico coro final). Berg se despedía del mundo agarrado a la mano del todopoderoso Bach, en ese último e interminable alarido que nos arropa con su nana en el sueño eterno. © 2013 Ritmo

…Isabelle Faust’s contribution is as personable as one could wish, alive with her own intelligence and musical personality. She projects her role as soloist on an equal footing with the orchestra and excels particularly in the Berg Concerto, a protagonist who carries to perfection its narrative dimension and knows when to merge into the orchestral texture.

The Orchestra Mozart play beautifully and I would say these versions are models of artistic and human discipline… © 2012 Gramophone Read complete review on Gramophone

Berg could be accused of giving too many instructions to his performers, of not allowing enough room for individual interpretation….Isabelle Faust is required, within a few bars, to characterise her part as scherzando, wienerisch and rustico. She succeeds brilliantly; one feels, in this and other places, that such precision actually helps her to convey the intensity of feeling that lies behind this concerto dedicated ‘to the memory of an angel’.