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Ken Meltzer
Fanfare, July 2017

Amore non soffre opposizioni is a rich, attractive, and compelling work, brimming with melody, vibrant energy, and a rich and varied orchestral palette. …Franz Hauk and the East-West European Festival Orchestra offer a performance of considerable strengths, never lacking for energy, an admirable singing line, and a celebration of Mayr’s exploration of various instrumental colors. …Franz Hauk is to be commended for his fine work on behalf of Giovanni Simon Mayr, as is Naxos for disseminating it to an international audience. © 2017 Fanfare Read complete review

Charles H Parsons
American Record Guide, July 2017

Hauk enjoys his work and leads his singers in a merry romp. © 2017 American Record Guide Read complete review on American Record Guide

Grego Applegate Edwards
Gapplegate Classical-Modern Music Review, April 2017

There are no recitatives, there is a vibrant tunefulness, a sprightly demeanor, and sophisticated harmonies and instrumentation. We are treated to a very good performance—here by engaging, idiomatic soloists and the East-West European Festival Orchestra.

As you listen for a while, you notice a kind of synthesis between the Italian influence of Rossini and the German one of Mozart, which in Mayr’s hands seems unforced and natural.

That this is in every way a carefully conceived and enthusiastic performance goes a long way towards bringing Mayr alive for us.

Anyone who loves classical-era opera will find this release delightful. © 2017 Gapplegate Classical-Modern Music Review Read complete review

Göran Forsling
MusicWeb International, January 2017

This journey is laid out in the usual way, in accordance with the fashion of the time with secco recitatives—some of them quite long—interspersed with arias and ensembles. The recitatives are musically neither more nor less interesting than other recitatives from the period. They are however delivered with dramatic involvement and expressivity and seldom outstay their welcome. I suppose, though, that after a couple of complete listening sessions, one will skip the recitatives and concentrate on the music. It is worth returning to for the melodic gift, which is Mayr’s hallmark. © 2017 MusicWeb International Read complete review

Do Diesis
The music gala, November 2016

…Amor non soffre opposizioni is a nice, delicious opera and its good result is made possible in the first place by the conductor. Franz Hauk is sensitive to the elegance and lightness which characterize Mayr’s music and gives new life to its joyful, brilliant and ironic spirit. It is easy to appreciate every moment of this recording for this particular reason, even when the singers are not at their best. I think Hauk is one of the best conductors a forgotten opera can wish.

Laura Faig…has a pure voice, even if not of exceptional quality, youthful and fresh temperament and secure agilities, which allow her to be irresistibly nice in her aria (Ditegli, ditegli che son nata).

Philipp Gaiser as Policarpo and Giulio Alvise Caselli as Argante are the best singers of Amor non soffre opposizioni and it is amazing to listen to them. Their duet in the first act is the nicest piece of the opera and reminds to the most famous duet for low male voices, from Cimarosa’s Il matrimonio segreto. This is possibile thanks to the two singers’ verve and fun. © 2016 The music gala Read complete review

David Denton
David's Review Corner, October 2016

I recently commented that few composers are enjoying the coverage given by Naxos to the little-known Eighteen century German-born, Johann Simon Mayr. He was to spend most of his life in Italy were he became the operatic bridge between the era of Paisiello and that of Rossini, and though in later life he lost interest in the theatre, he had by then composed more than seventy scores, many of them now lost. Described as an opera buffo and completed in 1810, Amore non soffre opposizioni, was premiered in Venice, and came towards the end of his opera career, his pupil, Donizetti, and the young Rossini becoming so fashionable that his works largely disappeared. The confused story of the father looking for a wealthy husband for his daughter is so convoluted that it takes a great deal of understanding, and ideally needs a map of the action, though, at least for some of the cast, it all ends happily. In two quite lengthy acts the performing score has been created by the unflagging Mayr enthusiast and conductor, Franz Hauk. The recording is derived from staged performances in the German town of Neuberg an der Donau, the young orchestral musicians, emerging from student days, are chosen from twelve European countries and offer a very spirited accompaniment. The cast is not of equal quality, the soprano, Monika Lichtenegger, having a wide vibrato that makes intonation questionable, and, having found the second act a challenge, sounds vocally tired at the end of the opera. On the other hand Richard Resch, as the prospective son-in-law, is a most likeable light tenor with a nicely focused voice, his aria at the beginning of the second act one of the high points of the performance. As the struggling father of the prospective ‘bride’, Philipp Gaiser, is well cast as he becomes increasingly perplexed by surrounding events. Bring them all together in the finale to the first act—by which time everyone is confused—and you have the making of an amusing evening. The recording is well balanced between singers and orchestra, and there are no audience noises. © 2016 David’s Review Corner

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