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Rob Maynard
MusicWeb International, December 2017

An unexpected delight with track after track of unfamiliar yet engagingly tuneful material, all expertly and idiomatically delivered by Antoni Wit and the Warsaw Philharmonic. Not everything here is strictly “ballet”, by any means, but all of it—even a funeral march—is addictively foot-tapping stuff. The dance music that Moniuszko interpolated into Nicolai’s The merry wives of Windsor is a particular hoot. © 2017 MusicWeb International

Jim Svejda
Fanfare, July 2017

From the music contained in this collection, it’s clear that Moniuszko was a first-rate professional who could turn out reams of colorful, brilliantly scored music at will. …Rather astonishingly, only once on the entire album does Moniuszko seem on the track of something truly unforgettable, and then you realize it’s because you’re listening to themes from Otto Nicolai’s The Merry Wives of Windsor, for which he concocted nine and a half minutes of splendidly turned-out ballet music. Everything else—for all its technical accomplishment—goes in one ear and out the other with an alarming swiftness, stubbornly refusing to stick in the mind. That better, more committed performances than these could hardly be imagined only confirms why Moniuszko’s name—outside Poland at least—remains for most people a name in a book. © 2017 Fanfare Read complete review

Stephen Wright
American Record Guide, July 2017

The Warsaw Philharmonic plays with spirit and polish under the always reliable Wit. Sound is splendid, airy and spacious, with a firm and voluptuous low end. Na zdrowie! © 2017 American Record Guide

Rob Maynard
MusicWeb International, April 2017

The orchestra’s expert performances are brought to us in very fine and detailed recordings. © 2017 MusicWeb International Read complete review

James Manheim, April 2017

…the Warsaw Philharmonic Orchestra under Antoni Wit, who play the music with confidence and sympathy, have done a service by unearthing some of his music for audiences beyond Poland. © 2017 Read complete review

Remy Franck
Pizzicato, February 2017

Antoni Wit and the Warsaw Philharmonic are totally committed to playing Moniuszko’s intermezzi and ballet music brilliantly, and the listener is able to hear some really gorgeous music. © 2017 Pizzicato

David Denton
David's Review Corner, February 2017

Born in 1819, Stanisław Moniuszko was Poland’s most prolific and important composer of operas and operettas through the middle part of the ninteenth century. To use an old-fashioned terminology, he was a remarkable ‘tunesmith’ who could produce an unending stream of melodies that fall easily on the ear, and I recall audiences getting frustrated by yesteryears touring Polish orchestras who used the Haunted Manor’s totally unknown Mazurka as a fabulous encore. He was productive in so many genres, the present disc collecting together ballet music from his operas together with a rather motley assortment of orchestral dances. The result is a disc that is one of considerable pleasure, and posses the question, why don’t we hear the remainder of the opera? Two still have performances in his homeland, the distinguished Polish musicologist, Zofia Chechlińska, cautions that they were composed to directly address the Polish audiences of the day and were in a musical style within the grasp of the general public. That description would sit happily within the dances included here from the ‘opera buffa’, Hrabina (The Countess). I can comment that my only acquaintance with his operas came with a performance of the Haunted Manor, a well shaped and dramatic score that made for a very lengthy evening at the Wexford Festival some many years ago. The disc has one serious track with the Funeral March he composed for his compatriot and distinguished composer, Antoni Orłowski, who died in 1869. The conductor, Antoni Wit, conducts as if in the theatre, his tempos perfectly geared to dancing, with the pulse elongated as appropriate so the male dancers could achieve the lifts of the ballerinas, and I particularly enjoyed his vivacious account of the Monte Christo mazurka. The recording, that was apparently made back in 2011, finds the Warsaw Philharmonic Orchestra in fine form. © 2017 David’s Review Corner

Records International, February 2017

A sort of “opera without words” release except that this 78-minute disc consists of Polish-flavored ballet music from operas as early as c. 1849 to 1864 along with two concert polonaises and a short concert polka. © 2017 Records International

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