"(...) This new disc joins a formidable and growing discography of excellence. Rousset as usual directs from the fortepiano with bass continuo in recitatives. Salieri perhaps didn’t have the same God-given talent for melody and sheer bravado as his younger colleague Mozart, but once again in Cublai we can experience his undoubted musical genius and perfect sense of timing. The opera moves fast; indeed, it is quite breathless in places. There is some inappropriate text in the libretto to do with racial stereotypes which may indeed have been amusing to the audience at the time, but which feels wrong now. We are lucky to have the records, though, and I urge you to investigate this or indeed any of the series on Aparté. There are several more Salieri works Rousset could turn to, pre- and post-dating Cublai. I would also love him to direct Una cosa rara one day." (musicwebinternational.com)
Giuseppe Gazzaniga (5 October 1743 – 1 February 1818) was a member of the Neapolitan school of opera composers. He composed fifty-one operas and is considered to be one of the last Italian opera buffa composers. (...) L'isola di Alcina (libretto by Giovanni Bertati, opera buffa, 1772, Venice) (wikipwsia.org)
"...the Fura dels Baus stage director Carlus Padrissa keeps the stage in a constant state of motion, often in ways that are conceptually rooted in historic authenticity. The theory that 18th-century opera wasn’t considered static because of the subliminal effect of flickering, pre-electric footlights is updated here with a use of projections that, content aside, keep the stage pulsating during the music’s extensive ruminative passages. The production’s visual density combined with purely video effects sometimes converges into moments when you don’t know whether images are real people or projections. The big surprise is that, no matter how busy the screen becomes, it rarely distracts from the music. Rachvelishvili is a vocally robust, poetically alert Orpheus, though Auxiliadora Toledano steals the vocal honours in her wonderful portrayal of Amore. Orquesta bandArt is onstage, costumed in lizard-like body stockings, sometimes participating in the action." (David Patrick Stearns, Gramophone)
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