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Bertil van Boer
Fanfare, July 2017

The performance by both the Monteverdi choir and the divided brass choirs is nicely integrated, with each sound complementing the other, making it especially noticeable during the antiphonal effects. Of course, La Pifarescha does mainly consist of a quartet of trombones over which hovers a cornett, and the continuo groups, a pair of organs accompanied by a lighter viola for the first choir and a bass viol for the second, functions as a solid bass. The voices in the so-called cori favorite, known as the soloists, are all clear in their diction and blend well together. This may contrast with Cavalli’s use of such in his operas, but here they act well as a foil for the thicker dual chorus textures that he uses in alternation throughout. There seems to be a bit of sameness in Bruno Gini’s tempos, but I find that he has hit a sweet spot wherein the bulk of the music depends upon the contrasts of texture more than abrupt changes in tempo to carry the music. He does, of course, speed things up incrementally from time to time, particularly in those brief madrigal sections, but in general he has hit upon the right tempo for such divided choruses to function. If one is expecting the Cavalli of the stage, with his often naïve and dramatic gestures, this disc will prove his versatility. © 2017 Fanfare Read complete review



David Vickers
Gramophone, June 2017

…La Pifarescha’s fluent cornetts and trombones are especially impressive in a six‑part sonata reminiscent of Gabrieli’s canzoni; uncredited countertenor, tenor and bass soloists sing eloquently in a very fine trio setting of Regina caeli laetare. Notwithstanding blemishes, there’s an appealing sincerity emanating from Gini’s explorations of Cavalli’s church music. © 2017 Gramophone Read complete review on Gramophone





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