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Penguin Guide, January 2009

The Suite from Anacréon is essentially lighthearted music, particularly vivid in its scoring, piquantly using sopranino recorders, notably in the Premier et deuxième air vif, the infectious Premier et deuxième tambourin, but even more strikingly in the penultimate Bacchanales. The Suite from Daphnis et Egléis much longer and more varied including a gracious Sarabande très tender, a Gigue, a Gavotte, a touching Musette and a sprightly Contredanse très vive to end. The Capella Savari, using period instruments with fair panache, play all this music with considerable finesse and much spirit, and they are very well recorded.

Allan Kozinn
The New York Times, April 2000

"Because dance was such an essential component of French Baroque opera, Rameau's stage works yield colorful, rhythmically vital orchestral suites. It would be an overstatement to say that these suites offer distillations of the dramas from which they are drawn. But they tell us a great deal about the fertility of Rameau's imagination. Faced with standard dance movements that more typically interrupt the drama than further it, Rameau composed music of great variety and energy. ...

"Two discs by the Capella Savaria accomplish much the same effect [as the Philarmonia Baroque] in performances of a very different kind. In suites from La Naissance d'Osiris and Les Boreades in Volume 1, and Anacreon and Daphnis et Egle in Volume 2, this Hungarian period-instrument group produces a rounded timbre, closer to that of modern instruments. In addition, the group's leader, Mary Terey-Smith, also favors relaxed tempos, but this preference exacts no cost in vibrancy or -in movements like the Contredanse en Rondeau from the Boreades Suite-sheer rambunctiousness."

Early Music Review

"Here we have the enormous breadth of Rameau's music and a performer with the capacity needed to match it"

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