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“Can hold its own against the competition in the catalogue.” Penguin Guide

“…Antoni Wit has a genuine feel for the music, and the New Zealand Symphony Orchestra responds well throughout. Strongly recommended.” BBC Music Magazine, April 2009 ****

“Here are all six opera overtures, plus those for the incidental music to Preciosa and Turandot.
The Ruler of the Spirits and Jubel are independent pieces, the latter celebratory and ending with a terrific orchestration of the tune we know as 'God Save the Queen', the former one of Weber's most brilliant pieces, one that really ought to feature more as a concert-opener.
Antoni Wit goes at it with a will, and nimbly catches the good humour of the Abu Hassan overture, not least thanks to a lively oboe here and in Peter Schmoll. The orchestra also boasts a good horn section, very much called for in both Oberon and Der Freischütz. Peter Schmoll and Silvana are attractive examples of how early Weber began finding his voice as an orchestrator, in the case of Schmoll when still in his teens.
If only the sound were better, this would be an easy record to recommend. But as well as writing beautifully for wind, Weber makes demands on the richness and depth of the full orchestra and, especially in Euryanthe and Oberon, on the hurtling virtuosity of the strings. A crowded acoustic does not help clarity here, or in the busy figuration at the climax of Jubel. The seldomplayed Turandot, with its quirky little oriental tune that caught Hindemith's ear for his Weber Metamorphoses, fares rather better.” Gramophone Classical Music Guide, 2010

“Descriptive, colourful opera overtures - it's a pity that the sound isn’t better.” Gramophone Magazine, February 2009

“Weill's Symphony No 2 is one of his most important works but it is not music calculated to cheer one up. Commissioned by the Princesse de Polignac in 1933, Weill completed it during the months immediately following his flight from Germany, after the Nazi seizure of power. Coming just after Der Silbersee and Die sieben Todsünden, it has a number of thematic similarities to those works but also seems to hint at some of Weill's later music, composed in America. A deeply pessimistic piece in its first two movements, it nevertheless ends on a questioning note that may express hope, or at least the energy to continue.
The Bournemouth Symphony Orchestra under Marin Alsop give a satisfying performance.
For those who already possess versions of the ballet-chanté or the concerto, Alsop's programme may be more alluring. She achieves quite a triumph with the very early single-movement First Symphony, a student work never performed in the composer's lifetime: it's rarely played as confidently as here. The suite from Lady In theDark is just a curiosity; without Ira Gershwin's lyrics the tunes don't sound particularly enticing.
At least, though, it lightens the mood after some pretty relentless gloom. Excellent clear sound, at Naxos's price an easy recommendation.” Gramophone Classical Music Guide, 2010