Newspaper 1

"Catone in Utica" by Antonio Vivaldi is the 15th opera to appear in the edition Vivaldi, huge project initiated in 2000 by Naïve who intends to record the composer lintégrale works preserved at the National Library of Turin.
Check-appeared in late August 2013. Since then, a good dozen of articles were dedicated to him by the press and appeared on the Web.

Here is a record that will appeal to lovers dopéras Vivaldi. The international press very well received, especially the English side.

David Vickers Gramophone (11/2013) expressed extremely satisfied with this production of "Catone in Utica" that we still lack the original version of milky 1. It highlights the commendable work done by Alessandro Ciccolini reconstitution. He finds the dorchestre direction Curtis inspiring and rendering Complesso Barocco orchestral Dil very dynamic. It has nothing to complain about singers: "the Entire cast Performs superbly" (All are superb). This is especially Roberta Mamelli that captures his attention, "she sings," he says with a brilliant technique, demonstrating great conviction and versatility in terms of feelings "in the air that are devolved. As for the trio Hallenberg, Prina, Basso, Vickers will even up to say that we have here the three best mezzo-sopranos of the current baroque scene.

BBC Music Magazine (12/2013) is also very excited about this recording puisquon the designated record of the month in the "Opera" category.
We can also read a rave review from Tim Ashley of The Guardian. "Performance is glorious. The dorchestre management and musicianship have tremendous energy and singers are unconventional ("the singing is to die for"). All are excellent, according to this critic, if not sensational (Hallenberg, "" sensational "and Lehtipu Mamelli" electrifying "Prina and Basso:" outstanding contributions ". (Note: 5/5)

Simon Heighes dInternational Record Review (10/2013) gives us a very long article in which he extols the merits of Vivaldi's opera, which, it seems, enjoyed a great success after its first presentation in Verona in 1737. This critical length emphasizes the merits of the reconstitution of the first act. He is also excited about the delivery of singers selected for this achievement. Among others, this is Roberta Mamelli which stands out for its interpretation of Caesar. He added: "The singers are captivating in the recitatives .. they are so animated and involved in the drama that it we must follow the course of the action through the booklet."

The same kind dappréciation comes from James Hobson Early Music Today wrote that "The performance of singers and instrumentalists is delicious." Alan Curtis gives a performance out of lordinaire ("outstanding"). Hobson emphasizes in particular the contribution of Topi Lehtipuu and Romina Basso ("stellar performance"). We have here a "music performed with passion." On the US side, criticism of Fanfare magazine to come.

At Diapason (# 617, 09/2013), check-sest almost won a Diapason dor neut summer, according to Roger-Claude Travers, the "choice of soft Roberta Mamelli" in the role of Julius Caesar! So appreciation lopposé Vickers! For the rest, "the voices are superb" without any exception. Everything is wonderful here. "Living recitatives, declaimed passionately involved, closely followed and commented upon by a reactive continuo: we speak, we respond, we sinvective. The orchestra is colored fleshy fine brass. " "Catone" earned a score of 5 tuning forks.

However not totally enthusiasm nest with go towards Classica (# 155, 10/2013) Jeremiah Bigorie especially critical delivery Dalan Curtis and sheds some Dombre on the reconstitution of milk produced by one Ciccolini. As for the singers we have, he writes, "a bunch of soloists (who) SimPose handily on competition, overseen by four queens win". Check-earned a score of 3/5.

The only negative criticism frankly comes from the pen Dolivier Rouviere that after applauding the return of I milk which he "turns out quite convincingly" sharply criticized Alan Curtis. "Alas, take out ladhésion, he had had another chief Curtis quAlan which records much too quickly and without apparent belief works whose beauty SimPose only on condition of investing emotionally. The Head "features a proper distribution" but he had taken a direction dorchestre "capable denflammer all these singers, (for) that this version could become a good reference." (Score: 2)

Elsewhere on the Web, the assessments are all positive. At MWI, we are entitled to two rave reviews from Brian Wilson and Geoffrey Molyneux. For the latter, "the most extraordinary singers Roberta is Mamelli" which portrays a César simply outstanding. Everything is top notch in this recording: 1 milk reconstitution, singers, management dorchestre, booklet, etc. So highly recommended. Camille Joyeuse summarizes its assessment of check-in these terms: "For lEmilia Dann Hallenberg, lArbace Demoke Barath, and also Fulvio Romina Basso, this new reading of Vivaldi's Catone version Curtis 2012 BE absolutely deserves heard." She added, however: "Too bad Curtis sentête to highlight lexpressivité Vivaldi discarding every infirmity dune in permanent tension profit."

It is also worth mentioning the two excellent comments posted on Amazon France (signed "Philomel") and Amazon USA (signed "Collector CD").

@ Home Classic Card is continued identification of user reviews. Can be viewed in the "Census - October 2013". It deffectuer simply search using the following two expressions "classicalacarte + ID354".