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Ken Meltzer
Fanfare, May 2016

Soprano Dušica Bijelić is first-rate in the title role, singing with tonal beauty, technical excellence, musicality, and dramatic commitment. As her lover Erneville, Gustavo Quaresma Ramos offers a bright ringing lyric tenor with an easy upper register, reminiscent of the wonderful Rossini tenor Ramón Vargas. In the buffo role of Simone, baritone Elier Muñoz is vocally secure, musical, and brings an appropriately light touch to the score. Baritone Gabriele Nani dispatches the somewhat lesser but dramatically crucial role of Adelina’s father, Varner, with distinction. Conductor Giovanni Battista Rigon leads a vibrant performance… © 2016 Fanfare Read complete review

Patrick Dillon
Opera News, May 2016

Cuban baritone Elier Muñoz and Italian baritone Gabriele Nani patter adeptly in their buffo roles; Eliseo Castrignanò’s fortepiano comments entertainingly; Giovanni Battista Rigon conducts the Virtuosi Brunensis with buoyant affection; and the unidentified infant bawls with commendable gusto. © 2016 Opera News Read complete review

Cristiana Prerio
Classica, March 2016

In the title role, the Serbian soprano Dušica Bijelić… gives life to her character. Gustavo Quaresma Ramos agilely leads with his beautiful light tenore di grazia voice. The two baritones are excellent. The precise and dynamic conducting of Giovanni Battista Rigon contributes to the success of this discovered discography. © 2016 Classica

Joseph Newsome
Voix des Arts, January 2016

The fortepiano continuo of Eliseo Castrignanò is one of the recording’s greatest strengths, his playing masterfully enlivening otherwise dull secco recitatives. Under Rigon’s direction, the musicians deliver a lively account of the opera’s Sinfonia, its initial Largo shaped with subtlety that gives way to exuberance in the animated Spiritoso, and musical standards are commendably high throughout the performance. © 2016 Voix-des-arts Read complete review

David Denton
David's Review Corner, November 2015

If you find Pietro Generali’s one act opera, Adelina, indebted to Rossini’s influence, then you have the history of music upside down, as it is the other way around. It was in the Venice opera season of 1810 that Adelina received its world premiere, and it proved to be the hit of the season, the same singers being used to take part in a short debut opera by a teenage composer called Gioachino Rossini. The story comes to a strange ending when ten years later Rossini had become so popular that it brought Generali’s career to a premature close. The story of Adelina was, at the time, a rather risque scenario of a young girl who is seduced by Erneville and has his child. That event brings about a rejection of Adelina by her father, but the intervention of a friend brings Adelina and Erneville together, they marry, and her father forgives her indiscretion. Such a serious scenario could not hold sway against Rossini’s opera buffos that swept through Europe with their amusing stories, and Adelina was soon forgotten. It was not all ‘doom and gloom’, Generali’s opening scene by Lake Zurich bubbling with happiness that continues through the party atmosphere that follows. To plead its cause really needed more characterful singing, though the young multi-national cast sing pleasantly and with a nice unforced tonal quality. The Brazilian tenor, Gustavo Quaresma Ramos, as Erneville, never resorts to a head tone in the high passages, while Dušica Bijelić, as Adelina, loosens-up as the performance takes place, her final aria showing promise as a spinto soprano. The baritones, Gabriele Nani and Elier Muñoz, take the parts of her father and their friend, Simone, with questionable intonation. They have the excellent support of the Virtuosi Brunensis, an ensemble created by musicians from the two major Brno orchestras. Spotlessly clean string playing and sprightly woodwind prove a delight throughout, their conductor, Giovanni Battista Rigon, moving the drama with admirable urgency. Recorded by German radio in performances during July 2010, extraneous noises are kept to a minimum. A neglected opera that I strongly commend to you. © 2015 David’s Review Corner

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