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International Record Review - (01/2012)
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Code-barres / Barcode: 0709861305186

Appréciation d'ensemble/ Evaluation : "I ... cannot imagine these concertos better played, with such infectious exuberance".

Reviewer:    Mark Pullinger

When the first disc of concertos appeared in this series (reviewed in November 2010), I expressed a sincere hope that Sergio Azzolini was to be our guide through the remaining discs from Naïve. It seems that wish has been granted with this second volume from the same artists".


" Every note of praise for Azzolini’s first volume of concertos is echoed here. The performances are very much in the modern Italian manner: period instruments played with gusto, a terrific sense of attack pervading outer movements. Azzolini burbles and rasps away merrily, yet there’s poetry aplenty in slow movements, where he displays an unsurpassed palette of tonal colour. L’Aura Soave Cremona, directed from either the theorbo, Baroque guitar, archlute or calichon (a six-course lute) by Diego Cantalupi, offers lusty support. Strings and strummed continuo are augmented by either harpsichord or chamber organ, neither used dogmatically, so that occasionally the organ is used in outer movements, such as RV470. Their aggressive style, familiar to followers of Il Giardino Armonico, may not be to all tastes, but I thrill to such exhilarating performances".

" There is simply no sense of routine or formula about these seven concertos or their performances. Vivaldi offers a brilliant, fiery Presto opening to RV483 in E minor, followed by a tender Larghetto, with exquisite pianissimo playing from Azzolini. L’Aura Soave Cremona is emphatic in its approach: pungent, earthy playing with percussive col legno slaps in the finales of RV496 and 472, for example, with a naughty harpsichord glissando added to the latter.

"Michael Talbot contributes excellent booklet notes and Denis Rouvre’s cover photo continues the distinctive, quirky sequence. The recording is on the close side, but with plenty of air around the instruments. One delightful side effect of the acoustic of the Brescian Church of the Madonna della Formigola is that distant birds are caught tweeting their approval between movements. I add mine and cannot imagine these concertos better played, with such infectious exuberance. I can hardly wait for Azzolini and his colleagues to continue their journey"

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