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Ralph P Locke
American Record Guide, September 2017

The performers are all native Italian speakers, and they capture wonderfully the many shifts in situation and character.

The best of the lot is also the best-known (and, at 58, perhaps the oldest!): Roberto Scandiuzzi, who has long been admired for his recordings of major bass roles in operas by Verdi. His resonant voice, in the role of the wonder-worker Trofonio, draws one in every time. The character disguises himself for a time, visually and aurally, as one of the other characters, giving Scandiuzzi lots of chances to show his adaptability.

Domenico Colaianni, as Don Gasperone, the one role that is written in Neapolitan dialect, seems utterly natural and convincing… © 2017 American Record Guide Read complete review on American Record Guide

Ken Meltzer
Fanfare, July 2017

Conductor Giuseppe Grazioli leads a spirited rendition that never lacks for energy, but also never exceeds the boundaries of taste and proportion that are part and parcel of the Classical style. The vocalists are all equal to the vocal, dramatic, and comic challenges of their roles. Giorgio Caoduro is a particularly strong presence as Don Piastrone, in fine voice, and relishing the text and music in a way that embodies the role’s buffo elements without ever lapsing into slapstick. The celebrated bass Roberto Scandiuzzi is perhaps a bit taxed by the remarkably wide vocal range demanded by Trofonio’s act I invocation to the grotto (“Spirti invisibili”). Nevertheless, Scandiuzzi brings authority, star power, and rich, imposing vocalism to this pivotal role. Overall, it is a fine ensemble effort that conveys the tension and immediacy of a live performance. © 2017 Fanfare Read complete review

Richard Lawrence
Gramophone, May 2017

The music falls easily on the ear. …Giuseppe Grazioli conducts a lively performance that was probably good fun in the theatre. The veteran Daniela Mazzucato is a characterful Madama Bartolina; Roberto Scandiuzzi booms impressively as Trofonio. Of the less wellknown singers, Caterina Di Tonno stands out as a bright-toned Rubinetta. © 2017 Gramophone Read complete review on Gramophone

Records International, January 2017

Staged at the Burgtheater in Vienna in October 1785 a few months after Salieri’s setting of the same libretto (we offered the Salieri in Feb. 2006, now out-of-print), Paisiello gives us his take on the then-popular comic opera subject. © 2017 Records International

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