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Michael Wilkinson
MusicWeb International, March 2017

Performances strike me as excellent throughout.

This is music to enjoy and love—this is a composer not only to explore but to follow with interest through his remaining career. © 2017 MusicWeb International Read complete review

Erica Jeal
The Guardian, January 2017

…joy in the orchestra’s swooning sonic possibilities is everywhere evident in the three works recorded here. …persuasively delivered by mezzo Nora Gubisch and the Orchestre National de France, conducted by Fabien Gabel. © 2017 The Guardian Read complete review

Rob Barnett
MusicWeb International, January 2017

These Radio France recordings will not disappoint. They support Dubugnon’s many pages of delicate subtlety as well as his sonic conflagrations. I did not notice any audience noise.

Laurent Petitgirard is the conductor for Arcanes Symphoniques. His own orchestral music has a commanding presence on Naxos… © 2017 MusicWeb International Read complete review

David Denton
David's Review Corner, January 2017

Though the music of the Swiss-born composer, Richard Dubugnon, engenders critical acclaim, his sizeable output of works have failed to attract record labels. A disc of his chamber music was released by Naxos in December 2002 and at that time my review related a basic history of his birth in Lausanne in 1968; his mature studies of the double bass and composition; then entering the Conservatoire National Superieur de Musique de Paris in 1990, and later moving to London’s Royal Academy of Music as a student of the composer, Paul Petterson. I continued with the advice that to enjoy his musical world you would already have come as far as the music of Prokofiev or Shostakovich, and that is true of the present disc. Opening with five excerpts from Arcanes Symphonique, a series of pictures of the characters on tarot cards, the following Triptyque is a setting of words by the French novelist, Stéphane Héaume, each poem in some way related to death and the trials that await us. Scored for baritone soloist and three varied groups of instruments placed in a triangle, it is written within the bounds of tonality, the second poem being highly dramatic as it relates the final moments of the soldier who thrust his spear into Christ’s side. The most extensive work, and also to words by Heaume, is La Songe Salinas, which in essence is an opera for one singer, the character being a mix of Sheherazade and Salome, who is set before a very large orchestra sparingly used. If you are just coming to Dubugnon, this work is your starting point, his music in the mode of the mainstream mid-twentieth century compositions. Though often strenuous on the mezzo, Nora Gubisch, the French National Radio Orchestra, under Fabien Gabel, offer brilliant or subtle colours as required. The French Radio recordings are superb. © 2017 David’s Review Corner

Records International, January 2017

Le songe Salinas is a half-hour mini-opera. The subject-matter, and hence the music, is tinged with orientalism in a somnolent, sensual, headily perfumed idiom that recalls Ravel, the Szymanowski of the 3rd Symphony and Król Roger, and the ‘poisonous sweetness’ of a Sorabjian nocturne. © 2017 Records International Read complete review

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