Reviews

Aside from Haydn, this is the composer, 30 years his senior, from whom Mozart seems to have drawn his ideas and inspiration. So much so that while I was writing this review, someone else in the room exclaimed: “Is that Mozart you’re listening to?” A paragraph in the libretto notes even points out: “The name Pasquale Anfossi is closely linked to that of Wolfgang Amadeus Mozart and it would not be an exaggeration to say that Anfossi had a certain influence on the Austrian composer. Mozart, in fact, not only had him mentioned in some of his letters, but also had a great admiration for the Italian Maestro, so much so that he was inspired by him in the creation of some themes.” It also seems that Mozart composed and added two soprano arias to Anfossi’s opera “Il Curioso Indiscreto” Pasquale Anfossi (1727-1797) was an Italian composer whose goal was to write operas and oratorios. Various sources with differing accounts estimate his output to be between 45 and 70 operas and around 20 oratorios. Riding the wave from the late Baroque era to the shores of the early Classical period, his music was somewhat restrained and in keeping with the trends of the time, but at times, as in the E-flat Overture (audio clip below), he demonstrated a spark of creativity. This release, which features world premiere recordings, brings together some of his finest Symphonies and Instrumental Overtures from these works. The Czech National Symphony Orchestra under the baton of Alessandro Fabrizi imbues his music with the same degree of elegance and wit that one would expect to hear from Mozart’s operas, and also brings out his somewhat hidden dramatic talent. Listening to this recording will certainly make you realise that perhaps little Wolfgang was more derivative than original. Jean-Yves Duperron Classicalmusicsentinel.com

“Carmina Burana, what a success in the square for the symphony” “..Well-deserved applause for Alessandro Fabrizi who conducted with effective sobriety..” Gigi Razete

“…Tchaikovsky at the Royal Philharmonic Orchestra,” London – Cadogan Hall 29/03/2011 “The brilliance of Tchaikovsky and the Royal Philharmonic Orchestra is unquestionable. The opening of the Capriccio Italiano is imbued with captivating swagger. The all-Italian fanfare that Tchaikovsky heard every day from the barracks adjacent to his Roman home pulses through Fabrizi’s veins. Wonderful brass – even, solemn, clear, decisive. An impeccable interpretation of Tchaikovsky’s brilliant orchestration. The melodies follow one another through the Florentine alleys and Roman passers-by. They too have a firm and confident cadence…..” “…..Listening to the Fourth Symphony at Cadogan Hall was almost as terrifying as it was perhaps for the composer when he composed it. The sharp blows of the strident warnings to the horrors of life alarmed and awakened the audience from a lifelong dream. ordinary, accommodating, full of pleasures. The show was splendid…..masterful.” Ken Carter

“The ninth symphony enchants the theater“ …..”the challenge of taking on one of the most tremendous tests of the symphonic repertoire can be considered largely won”….. …..”the movements of the symphony followed one another in a crescendo of emotional intensity until they culminated in the apotheotic, very famous finale, which involved everyone, audience and performers. The orchestra responded with flexibility and commitment to the solicitations of Maestro Fabrizi who finely exalted the moments of pathos, intimate and vigorous…..” Paolo di Lorenzo