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Curtis Rogers
MusicWeb International, October 2017

The soloists are well cast, inhabiting the frequently mercurial demands of their parts with a good, sprightly temper, not least Paula Murrihy as Orontea. She manages to be playful even as she high-mindedly disavows the distractions of love, before expressing the sincere ardour of her passion as she succumbs to her feelings for Alidoro. Xavier Sabata sings the latter part with an attractively quiet but authoritative manner which makes sense of the allure he holds for Orontea, as well as other characters. Silandra is one such, and Louise Alder wins the listener’s sympathy in her expressive, though ultimately futile, yearning for the young soldier, but Matthias Rexroth makes the part of Corindo a more than second best as the character with whom she is eventually paired off. Simon Bailey’s comic virtuosity in realising the dishevelled servant Gelone deserves to win plaudits for the way that he brings to life his tomfoolery convincingly, sometimes shifting between two musical registers within a single passage. Guy de Mey demonstrates similar agility in the drag role of Aristea. © 2017 MusicWeb International Read complete review

John W Barker
American Record Guide, July 2017

…the cast here is admirable. Murrihy is a full-bodied title character and Adler is a contrasting ingenue, with strong work by Magiera as the hapless Giacinta. Bailey has a ball with the comic Galone. Of the countertenors, Sebata is a very lyrical Alidoro, Rexroth a more rough-hewn Corindo; the bass Geyer is an appropriately authoritative Creonte.

Bolton has by now established himself as a veteran exponent of Baroque opera and leads a flowing performance. © 2017 American Record Guide Read complete review on American Record Guide

Iain Fenlon
Gramophone, June 2017

…Louise Adler settles down, after some striking opening passagework, to a finely wrought and affecting account of Silandro’s set-piece ‘Addio Corindo’, one of the high points of the score. There are also stylish performances from Guy de Mey and the countertenor Xavier Sabata, who makes an impressive debut in the role of the destitute painter Alidoro. Orontea herself, the fictitious Egyptian queen whose love for the artist provides the central thread in a libretto that revolves around the usual tropes of mistaken identities and the tricks of fate, is affectingly portrayed by Paula Murrihy, notably in the rapidly changing moods of ‘Intorno all’idol mio’.

Ivor Bolton directs the combined forces of the Frankfurt Opera and Museum Orchestra with his accustomed flair and keen sense of period style. © 2017 Gramophone Read complete review on Gramophone

Records International, April 2017

Alongside Cavalli’s La Giasone, L’Orontea, premiered in 1656, went down in history as the most successful opera of the late 17th century. As the Opera Grove article puts it, “a brilliant and successful combination of poetry and music… Orontea helped point the way for Italian opera in the later 1650s and 60s.” © 2017 Records International

Uwe Krusch
Pizzicato, March 2017

Antonio Cesti’s once famous opera L’Orontea was rediscovered by the Frankfurt Opera House. The performance is magnificent, full of joie de vivre. © 2017 Pizzicato

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