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Raymond Tuttle
Fanfare, July 2019

Jun Märkl and his Swedish musicians do everything in their power to sell these works, without going beyond the boundaries of style and good taste. The playing is flexible and sympathetic, and Naxos’s engineering team captures the orchestra with atmosphere and realism. For me, there is plenty to like here, and even much to admire… © 2019 Fanfare Read complete review

Steven Kruger
Fanfare, May 2019

The Malmö Opera Orchestra, about 60 players strong, is a perfect venue for these overtures. Naxos has supplied a realistic theatrical acoustic, with lots of well-miked bass drum thumps (without which no opera overture of the day is worth its salt), and Jun Märkl conducts with just the requisite touch for light drama. © 2019 Fanfare Read complete review

Cinemusical, April 2019

The performances here are excellent with a real sense of style and appreciation for the period. Even at the most banal gestures, the orchestra manages to maintain a great sense of forward motion and drive. There are also plenty of places for solos in the winds to help those players shine as well. The sound here allows for excellent detail without too much bass in the tutti sections. © 2019 Cinemusical Read complete review

Raymond J Walker
MusicWeb International, March 2019

For this compilation disc the Overtures selected cover a period of 19 years, so it is interesting to find the emergence of a maturing style in the later compositions. To my ears, Der Weihnachtsabend with its dreamy, rhythmic opening theme is reminiscent of Auber, and contrasts with the other overtures.

Jun Märkl and the Malmö Opera House Orchestra give good readings of the pieces, all lovingly played. … Der Waffenschmied is given a more spritely reading by Heger and as a result promotes considerable energy, while Märkl adopts a much more leisurely pace, especially in the opening, which adds over a minute to the timing. Its opening Larghetto, however, is taken slowly to evoke a dreamy quality and here Märkl shows sensitivity where he introduces variation in dynamics to a greater extent than Heger. © 2019 MusicWeb International Read complete review

Records International, February 2019

From the well-known to the much more obscure, 67 minutes of Romantic overtures from the multifaceted Lortzing. © 2019 Records International

The Northern Echo, February 2019

The music traverses imposing grandeur and lighter motifs alike performed by the Malmö Opera Orchestra under Jun Märkl. © 2019 The Northern Echo

David Denton
David's Review Corner, February 2019

The Albert Lortzing story is one of a man gifted in so many ways, but who failed to make a satisfactory living in any of them, dying in poverty aged just forty-nine. The son of musicians who toured as actors and singers, he was taken on stage as a child actor, progressing to become a buffo tenor, cellist, theatre producer, librettist, conductor and composer, though he was almost self-taught in all of them. He did at one stage reach the elevated position of kapellmeister of the Theater an der Wien, but once installed he found little favour with Viennese audiences. As a composer he began with one-act comedies, often borrowing music from others, and they included Mozart who was to be the inspiration in his later full-length scores. It is strange to relate that his operas, particularly, Zar und Zimmermann, had a popularity in Germany that continued well into the last century, but it has enjoyed scant international success. It would be fair to say the disc includes all of the overtures that are worthy of restoring to the concert repertoire, the Malmo Opera Orchestra doing everything possible to make them attractive. Particularly noteworthy are the overtures to Der Wildschutz, Regina and Hans Sachs, all worthy of carrying the name of Carl Maria von Weber. …I do urge you to hear this excellently recorded release. © 2019 David’s Review Corner

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