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Barry Brenesal
Fanfare, January 2014

The performances…are an almost unalloyed pleasure. Both Lenka Máčiková and Kateřína Kněžíková are gifted actresses, and each is a fine lyric soprano. Jaroslav Březina…acts with great energy and self-control. He possesses as well a refined vocal technique…Vojtěch Spurný leads a sprightly, disciplined performance. His orchestra displays enough technique and silky phrasing to make it clear they don’t just hang around Schwarzenberg when the opera’s not in season.

Ondřej Havelka does an excellent job of blocking his actors, both in the opera, and in its modern Prolog that features the cast supposedly getting ready to perform.

There’s also a documentary about the castle theater included with the opera. It’s sumptuously photographed and insightful in its further display of the architecture and stage machinery.

…the production itself shines. It’s solidly performed and directed in a way that emphasizes the behind-the-scenes mechanical contrivances of its risen-from-its-ashes 18th-century theater. This is an excellent halfway house to period productions, and just plain fun. © 2014 Fanfare Read complete review



Patrick Mack
Parterre Box, October 2013

Dove è amore è gelosia [is] a charming piece on many levels, musically swift and bright and easy on the ear.

A very young cast chosen from the Prague National Theater brings a slight air of collegiate theatricals to the proceedings but it’s all for the good as the story veers closer and closer to farce. Their enjoyment levels are palpable…Sopranos Lenka Máciková as the Marquise and Katerina Knezíková as Vespetta, show the most polish.

Compliments should go to Jana Zborilová for her lovely costumes which have no trouble concurrently blending in and standing out from their overtly baroque surroundings. Also, the very witty staging by Ondrej Havelka puts a fresh face on a lot of very old routines

The glory of this performance and the true star of the evening is the theater of Cesky Krumlov itself. This last true baroque wooden theater in the world that hasn’t been modernized is now restored with painstaking attention to detail. The very first set change…won my astonished gasp as I watched the flies, wings, and backdrop switch out simultaneously in near-perfect synchronicity.

An hour-long documentary goes into serious detail about the history of the theater and the opera…it’s well worth watching. Before pictures of the theater in total disrepair are shocking and the working model for the riggings is truly fascinating.

DTS Digital sound is crystal and the picture is so good it makes you feel like you’re there. For lovers of the baroque, or theater itself, this really is a must have. © 2013 Parterre Box Read complete review



Mark Mandel
Opera News, October 2013

SCARLATTI, G.: Dove e amore e gelosia (National Theatre Prague, 2011) (NTSC) OA1104D
SCARLATTI, G.: Dove e amore e gelosia (National Theatre Prague, 2011) (Blu-ray, HD) OABD7120D

More captivating than the work, the theater or the period charm are the four attractive, fine-acting young singers—sopranos Lenka Máčiková, a Clarice with an edge to her voice and temperament to burn, and Katerina Knežiková, a Vespetta whose phrasing is nuanced and deliciously suggestive; tenors Aleš Briscein, an Orazio of aristocratic, sweet tone when the line doesn’t run low, and Jaroslav Brezina, a Patrizio of heartier voice at home in a lower tessitura. © 2013 Opera News Read complete review



Michael Schwartz
The WholeNote, August 2013

It is difficult to single out any of the singers. All convey their anguish (and their sense of joy at inflicting anguish), and their satisfaction when they have sorted out all the confusion created throughout the course of this delightful farce. Non-speakers of Italian are greatly helped by the onscreen translations…

Enjoy this amusing performance. © 2013 The WholeNote Read complete review



Lindsay Kemp
Gramophone, August 2013

SCARLATTI, G.: Dove e amore e gelosia (National Theatre Prague, 2011) (NTSC) OA1104D
SCARLATTI, G.: Dove e amore e gelosia (National Theatre Prague, 2011) (Blu-ray, HD) OABD7120D

The stage business is more wholeheartedly 18th-century…from the handsome costumes and sets…to the bewigged, candlelit period orchestra in the pit and conductor’s rolled-paper baton. The cast’s gestures and moves are of the kind standard in most modern-day buffa productions…but in truth nothing more seems necessary here than to sing and act with skill and wit, which the four Czech singers all manage very well.

The opera itself is an appropriate choice…The libretto by the talented Marco Coltellini is firm and smart, and the music by a composer of over 30 serious and comic operas follows its moods skilfully, with some clever gags along the way…The orchestral playing and conducting are neat and tidy, and there is a 55-minute documentary on the theatre to boot. © 2013 Gramophone Read complete review on Gramophone






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12:51:36 AM, 5 March 2015
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