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Charles H Parsons
American Record Guide, November 2012

The performance is truly a delight. The orchestra dances along with exuberance. The singers smile in their singing. The text flashes with clarity. A good time is had by all—especially the listener. © 2012 American Record Guide Read complete review

Richard Lawrence
Gramophone, October 2012

The Overture includes a Rossini crescendo, and Sancho Panza’s cavatina is clearly indebted to Figaro’s ‘Largo al factotum’. There are well-turned buffo duets for Quixote and Sancho, and for Sancho and Basilio. And as well as writing gratefully for the voice, Mercadante has an ear for effective scoring.

In the Overture…Antonino Fogliani gets delightfully pointed playing from the woodwind. Ugo Guagliardo’s rich bass is ideal for Quixote’s dignified melancholy, and Laura Catrani follows her heartfelt accompanied recitative with a faultless cantabile and cabaletta. Domenico Colaianni and Hans Ever Mogollon are equally idiomatic. This one’s well worth investigating. © 2012 Gramophone Read complete review on Gramophone

Janos Gardonyi
The WholeNote, September 2012

Laura Catrani, the country girl and her lover Hans Ever Mogollon (tenor) are beautiful fresh voices and there is no weakness in the supporting roles either. Rossini specialist Antonino Fogliani conducts with a strong impulse and forward momentum to draw a thunderous ovation. © 2012 The WholeNote Read complete review

David Denton
David's Review Corner, July 2012

Today we hear little of Saverio Mercadante, one of Italy’s most prolific and highly regarded opera composers working in the first half of the 19th century. It was Rossini who persuaded the young man to write his first stage work at the age of twenty-four, and in 1826 he was to became the successor to Rossini as the house composer for the Teatro San Carlo in Naples.  It was a position he shared with time spent in Spain and Portugal where Italian opera was still in its infancy. After trials and tribulations he settled himself and his singers in the Spanish city of Cadiz where he achieved much success before being summoned by the Spanish king to return to Madrid to renew his position as opera director in Madrid. As his farewell offering to Cadiz, Mercadante wrote the one act opera  Don Chisciotte alla nozze di Gamaccio. Using just one episode from Miguel de Cervantes’s novel, Don Quixote, it relates the story of Quixote saving the poor farm girl from being married to the wealthy Camacho. The moral being that money can buy anything and, as such, it corrupts the world. While looking at this serious aspect, Mercadante decided on safety by giving the audience a work of pleasing melodies, a buffo role for Quixote’s servant, Sancho Pansa, and the requisite happy ending. It has the required virtuoso coloratura soprano aria for the farm girl, Chiteria…The young Italian soprano, Laura Catrani…shows a very agile and pleasing quality, while as Basilio the equally young Columbian tenor, Hans Ever Mogollon, has the typically fluid quality for such lightweight characters. The much experienced bass, Ugo Guagliardo, is an imposing Quixote, with Domenico Colaianni making the most of Pansa’s scene that opens the opera. The Southwest German radio recording of live performances in 2007 is well balanced with extraneous noises kept to a minimum. A slightly abridged world premiere recording that is well worth your attention. © 2012 David’s Review Corner

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