Antonio Vivaldi

“Enrico Onofri is a player of dazzling virtuosity, whose intonation seldom falters and whose imaginative responses to some of Vivaldi's most poetic utterances thrilled and touched me.” BBC Music Magazine, October 2006 ****

“Enrico Onofri writes that 'when subjected to a profound, subtle and precise reading of the rhetorical formulas that compose them, [Vivaldi's] concertos stand revealed as extremely impassioned works, by turns gently melancholic, impetuous, ironic, dramatic, caricatural, introspective, voluptuous, violent, tender, graceful.' All these characteristics are depicted in Onofri's intensely rhetorical playing. Occasionally he likes to introduce mischievous (perhaps even anarchic) elements into Academia Montis Regalis's performances, as if to insist that we must not regard this music as mere fashionable wallpaper music. The relentlessly tempestuous Concerto RV234, L'inquietudine, is not stuff that corporations will use for holding callers on the telephone.
Onofri's rapid flourishes in the extensive cadenza that concludes the Grosso Mogul Concerto, RV208, are not only phenomenal from a technical point of view but delivered in such a convincing way that every single note seems to matter. Amid the thwacks and snaps in fast tuttis one wonders if elegance might be an authentic Vivaldian characteristic in danger of becoming overlooked, although there is much more to these performances than shock tactics. Among the finest elements of this kaleidoscopic disc are the quieter slower movements: eloquence, grief, tranquillity and desire all seem to be worn on Onofri's sleeve. The Adagio in Concerto RV270, Il riposo, is breathtakingly beautiful; La caccia is unusually provocative, rewarding and frequently amazing.
Academia Montis Regalis present Vivaldi's concertos as totally compelling and meaningful music that demands full attention and respect.” Gramophone Classical Music Guide, 2010

“Onofri's rapid flourishes in the extensive cadenza that concludes the Grosso Mogul Concerto, RV208, are not only phenomenal from a technical point of view but delivered in such a convincing way that every single note seems to matter. Among the finest elements of this kaleidoscopic disc are the quieter slower movements: eloquence, grief, tranquillity and desire all seem to be worn on Onofri's sleeve. The Adagio in Concerto RV270, Il riposo, is breathtakingly beautiful; La caccia is unusually provocative, rewarding and frequently amazing.” Gramophone Magazine, October 2006

“A well-rounded portrait of Hvorostovsky's extensive repertoire” BBC Music Magazine, August 2010

“Vivaldi discoveries are not infrequent. …a third D major setting by the composer of the Vespers psalm Dixit Dominus, appears here on disc for the first time. It is a splendid piece: with scoring including woodwind and trumpet, it begins with a brief but dazzling chorus and concludes with a rewardingly worked fugue. Among the several intervening sections, a duet for two tenors, highly ornamented and vivaciously sung by Paul Agnew and Thomas Cooley, the chorus 'Juravit Dominus' and a contralto aria... sung with sensibility by Sara Mingardo.” BBC Music Magazine, July 2006 *****

“Tracy Smith Bessette is a glorious soprano in the infectiously exultant Canta in prato, 'Sing in the meadow, laugh on the hill'. Her fluent passage-work is a particular delight, enhanced by exciting ornaments stretching her to Baroque-pitch top D - albeit a mere C sharp in today's money! Marion Newman's is a more restrained voice... Her approach suits perfectly the dolorous mood of the Stabat Mater, where... Naxos... patronage has revealed the excellent Toronto-based Aradia Ensemble and Kevin Mallon, their director. Their accompaniment here is rhythmically well-sprung and thoughtfully but discreetly phrased. A delightful disc.” BBC Music Magazine, August 2006 *****

“The period-instrument Aradia Ensemble under the expert direction of Kevin Mallon are building an excellent reputation for themselves in the early music field…. Mallon’s Toronto-based ensemble sound on their best form providing beautiful smooth playing, that is fresh, bright and immediate. The liner notes from regular Naxos author Keith Anderson are of the highest quality.” MusicWeb International

“'In furore is the ideal score for any soprano who's spoiling for a fight – with herself!' So says Sandrine Piau in the booklet, and she could have added that it also makes a superb opener for any disc. The motet could have been made for a singer of Piau's avian lightness and agility, and sure enough she throws herself into it, bringing to it her usual precision and, with a technique that enables plenty of dazzling extra ornaments, winning personality.
With her energy and imagination, Piau manages to find contrast in the work, not just between its fearful opening movement and more penitential second, but on a local scale as well. In the Laudate pueri, an altogether more urbane offering, she sings with poise, expressive sophistication and tonal power. Piau's quickness of mind is matched by the orchestral playing of Accademia Bizantina, whose sound, typically for an Italian group, is deliciously grainy, allowing for an alert and intense approach to interpretative detail. Thus they never fail to enhance the mood of a particular number, a skill which they also put to good use in the disc's three orchestral works..” Gramophone Classical Music Guide, 2010