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John J. Puccio
Classical Candor, September 2016

…Maestro Andrew Mogrelia (who specializes in ballet scores) and the Queensland Symphony Orchestra (of which Mogrelia is now the Music Director and Principal Conductor) do a good job performing all this, and I suspect trying hard not to make it appear as lightweight as it seems. And thanks to the fine Marco Polo recording, the orchestra sounds splendid. © 2016 Classical Candor Read complete review

Rad Bennett
Schwann Inside, August 2001

"This one finds Andrew Mogrelia right on the mark, eliciting outstanding playing from the Queensland Orchestra. The recorded sound is rich, warm, and full: immediate, but not too close for comfort."

Sensible Sound, July 2001

"Anyone who enjoys ballet or light classical music will undoubtedly enjoy this piece."

Steven J. Haller
American Record Guide, April 2001

"This condensed statement of the stage action suffices to demonstrate that La Jolie Fille de Gand boasts a far more compelling story line that Giselle, nor should we be surprised to find that the sequel is every bit as melodious and rhythmically adept as its predecessor. Indeed, the highly agitated passagework that closes out Act II-fitted out with gratifying writing for the trombones-is clearly cut from the same cloth as the more dramatic pages of Giselle (disc 2, track 11). Same with the marvelous busywork for the fatal struggle between Don Bustamente and the Marquis (disc 2, track 9) will surely recall the entrance of the hunters in that ballet. In turn, the dancing master Zephiros's mincing step (disc 1, track 2) seems to foretell the overture to Si j'etais roi, while the brief storm sequence near the end of Act I, Tableau I (disc 1, track 14) just as clearly reminded me of Suppe's Poet and Peasant Overture. Rhythmically many of the dances suggest Auber, particularly the 'Marche' from Act I, Tableau II (disc 1, track 8), as well as the curious Spanish cast often surfacing elsewhere.

"From start to finish Adam reveals himself to be a true master of color as well as rhythm-far more so that in Giselle. ...those who know Adam only from Giselle will constantly marvel at the wondrous tapestry of invention that he here weaves so effortlessly, from the piquant wind scoring and strong writing for low brass to the room-filling sound of church bells and organ that brings the work to a sonorous and richly satisfying close. The Queensland Symphony plays with spirit and affection, and the sound is warm and enveloping, yet beautifully detailed.

"To make the presentation even more irresistible, annotator Keith Anderson has really outdone himself with a cogent and absorbing account of the stage action, marred only (at least in my import copy) by a missing line at a crucial point-fortunately intact in the German and French-that explains how Beatrix realizes the masked man in her boudoir is indeed don Bustamente and not the Marquis. The discs break nicely between Acts I and II, and in fact the entire production is so thoroughly satisfying that we may go many years before another recording and not care one whit. Highly recommended with the hope that other examples from the rich treasure trove of Adam ballets may follow."

George Dorris
Ballet Review, March 2001

"Andrew Mogrelia has a fine feel for the idiom and leads his Australian forces in a fine, well-recorded performance."

The Economist, December 2000

"With the catalogues groaning under the weight of so many rival versions of standard works, record companies naturally search for the unusual or neglected. If Adolphe Adam's ballet 'Giselle' remains his most famous work, and still one of the most often performed, 'La jolie fille de Gand', composed just one year later, has been all but forgotten. The performance by the Queensland Symphony Orchestra conducted by Andrew Mogrelia shows it to be a work of considerable spirit. The story is so complicated, involving duelling suitors and changes of scene from Ghent to Venice to Mount Olympus, that even in 1841 people had difficulty following it. Carlotta Grisi and Lucius Petipa were the stars of the Paris Opera ballet then, and now it's just a chance to enjoy unfamiliar, endlessly tuneful light music."

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