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Hans de Groot
The WholeNote, October 2014

The soloists are very good and they perform with virtuosity and with gusto. © 2014 The WholeNote Read complete review



Joseph Newsome
Voix des Arts, August 2014

…I briganti offers the orchestra much in the way of tuneful obbligati and finely-crafted melodic arcs and harmonic progressions…Under the baton of Antonino Fogliani…the musicians of Virtuosi Brunensis…play with the reliable eloquence and pure intonation that have made their numerous outings on Naxos recordings so enjoyable…the orchestra’s playing is remarkably unblemished…the choristers of the Camerata Bach Choir…dramatically apt singing to the performance.

… mezzo-soprano Rosita Fiocco…voices Teresa’s lines with dignity and easily-projected tone. Baritone Atanas Mladenov sings impressively in his few lines as the hermit Bertrando…and tenor Jesús Ayllón brings a voice of great quality and a lively presence to his singing as Rollero, the requisite companion of the tenor hero.

Naxos recordings have led attentive listeners on innumerable journeys, some of which have ended with the rediscoveries of forgotten treasures of the musical past. The label’s journey into the operas of Saverio Mercadante is one that hopefully has many more miles to travel, but this recording of I briganti is an act that will be incredibly difficult to follow. © 2014 Voix des Arts Read complete review




Rupert Christiansen
Daily Telegraph (UK), July 2014

…brisk, idiomatic interpretation…. © 2014 Daily Telegraph (UK)



David Denton
David's Review Corner, July 2014

Today the name of Saverio Mercadante is almost unknown, though in the first half of the 19th century he was one of Italy’s most highly regarded opera composers. It had been at Rossini’s instigation that the young man was to write his first stage work at the age of twenty-four, and in 1826 he was to become the successor to Rossini as the house composer for the Teatro San Carlo in Naples. At the height of his productivity he completed thirty new works in fourteen years, I Briganti, dating from 1836, coming from the period when he was visiting Paris to soak up the French style of opera. The story was based on Schiller’s play, Die Rauber…Mercadante clothes it in a number of florid arias, the Russian-trained Petya Ivanova enjoying the vocal acrobatics of Amelia’s role with outgoing virtuosity. The Polish chorus…open the second act as an enthusiastic group of bandits, and the Czech orchestra play very well for the Italian conductor, Antonino Fogliani in this world premiere recording…The sound quality is well-balanced and likeable… © 2014 David’s Review Corner




Andrew Clark
Financial Times, June 2014

…spirit and style… © 2014 Financial Times Read complete review






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4:01:47 PM, 18 December 2014
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