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Raymond Tuttle
Fanfare, July 2020

…The musicians play this music with wonderful spirit, and the performances sound both well-rehearsed and spontaneous… Given how well they respond to these unknown works, I hope that Naxos uses them and conductor Salvi for the remaining volumes in this series. I also hope that they keep the same recording venue and engineering team, because the sound is terrific—almost as good as being there in the hall with them.

So when are we going to get Volume 2? The sooner, the better! © 2020 Fanfare Read complete review



Dan Adams
The Light Music Society, March 2020

All of the works on this disc are scored for chamber orchestra and the Czech Chamber Philharmonic Orchestra, Pardubice offer an admirable rendering of this music under conductor Dario Salvi. Salvi’s emphasis is always on the expressive qualities of the music, resulting in clearly articulated interpretations of the faster passages whilst allowing for moments of real beauty to shine through in the romantic passages. © 2020 The Light Music Society Read complete review



Rob Maynard
MusicWeb International, February 2020

Mr Salvi has, so we are told, a particular passion for reviving long-neglected works and he certainly makes the most, on this occasion…

The sound quality on this disc is clear and detailed and exhibits a controlled degree of resonance that approximates to what might be heard in a smallish theatre. It serves to present these interesting and enlightening accounts of less than familiar scores in the best possible light. © 2020 MusicWeb International Read complete review




Remy Franck
Pizzicato, January 2020

The Scottish-Italian conductor Dario Salvi has a good instinct for this music, which blossoms brilliantly and richly under his hands. The charming tunes, the rhythmic swing and the respectable orchestral performance offer a good hour of listening pleasure. © 2020 Pizzicato Read complete review




Jed Distler
ClassicsToday.com, January 2020

…He’s [Auber] inventive and ear-catching. What wonderful woodwind writing supported by pizzicato strings at the outset of Le Timide. What nifty scurrying chromatic runs and ostinatos near the Leicester Overture’s conclusion. Or, just try not to relish the tried-and-true “Rossini crescendo” capping Le Séjour militaire: Auber knew what worked, and he made it work without fuss or seeming effort.

…The present release deserves attention on account of the repertoire’s rarity and Robert Ignatius Letellier’s excellent and informative annotations. © 2020 ClassicsToday.com Read complete review



David Denton
David's Review Corner, December 2019

The first in a project to record all the overtures to Daniel-Francois-Esprit Auber’s 31 opera-comiques, seven operas, three dramas lyriques and seven stage works.

Not only was he the most prolific French composer in these genres, but in Paris he rivalled Rossini in the number of opera performances in the first half of the nineteenth century, selling his stage works by virtue of his gift for attractive melody, a fact readily appreciated in his overtures. They were just long enough to set the scene, but stopped short of those by Rossini and Verdi. The libretti chosen mainly came from the notable Eugene Scribe, his stories decked with romance and heroism aimed at the fashionable audiences who found those themes attractive. The present disc covers his early period from 1813 to 1826, and, with the exception of La Neige, ou Nouvel Eginard, all are receiving their World Premiere Recording. So we open the disc with Le Macon from 1825, and by far his most successful of that era, remaining on French and German stages for the next hundred years. It was an example of those many operas where heroic deeds save a life with the happy conclusion that brings. From one extreme to the other with Le Timide, ou Le Nouveau Seducteur that had just a handful of performances before descending into oblivion. As you go through the sixteen tracks you will find pleasing music played with a suitable elegance, the performances using the bouncy tempos requested in Auber’s metronome markings. This is particularly required to generate the mood of sailors, the participants in Le Sejour militaire from 1813 and Auber’s first success, but my own favourite comes at the very end with the overture to the gentle pastoral comedy of mistaken identity, Le Bergere chatelaine. That we have these performing scores, I gather we owe a debt of gratitude to the conductor, Dario Salvi, who also obtains neat performances from his Czech orchestra. © 2019 David’s Review Corner



Records International, December 2019

More examples of why Auber’s brilliant and energetic music made his overtures as popular as Rossini’s at the time. © 2019 Records International





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