Apart from Haydn this is the composer, 30 years his senior, from whom Mozart seems to have obtained his ideas and inspiration. So much so that while in the process of writing this review, someone else in the room exclaimed: “Is that Mozart you’re listening to?” Even a paragraph from the booklet notes points out: “The name of Pasquale Anfossi is strictly bonded to the one of Wolfgang Amadeus Mozart and one would not exaggerate stating that Anfossi had displayed some influence on the Austrian composer. Mozart indeed, not only did he name him in some of his letters, but he also felt great admiration for the Italian Maestro, to the point of being inspired by him in the making of some themes.” As well, it seems that Mozart composed and added two soprano arias to Anfossi’s opera “Il Curioso Indiscrete” for a 1783 performance in Vienna. Pasquale Anfossi (1727-1797) was an Italian composer whose focus was on writing operas and oratorios. Various sources with differing accounts, estimate his output to be somewhere between 45 to 70 operas, and around 20 oratorios. Riding the wave from the late baroque music era to the shores of the early classical music period, his music was somewhat restrained and in keeping with the trends of the day, but sometimes as in the Overture in E flat (audio clip below) it demonstrated a spark of creativity. This release, which features world premiere recordings, brings together some of his best instrumental Sinfonie and Ouverture from these operas. The Czech National Symphony Orchestra under the direction of Alessandro Fabrizi infuse his music with the same degree of elegance and wit that one would expect to hear when listening to Mozart operas, and also bring out its somewhat concealed dramatic flair. Listening to this recording is sure to make you realize that maybe little Wolfgang was more derivative than original. Jean-Yves Duperron – December 2022 ClassicalMusicSentinel.com

“Carmina Burana, which success in the square for the Symphonic” “..deserved the applauses to Alessandro Fabrizi who conducted with effective sobriety…”                                                                                                                                                                              Gigi Razete    

…”Tchaikovsky at the Royal Philharmonic Orchestra, London – Cadogan Hall 29/03/2011                                 “The splendour of Tchaikovsky – and of the RPO – was never in doubt. The opening of Capriccio Italien blazoned in arresting, burnished swagger. The Italian fanfare that Tchaikovsky heard every day from the barracks in Rome close by his hotel lay throbbing in Alessandro Fabrizi’s blood. The brass was magnificent – smooth, stately, clear and confident. It was a flawless pronouncement of the brilliance of Tchaikovsky’s orchestration. Songs followed, culled from street singers in Florence and passers by in Rome. They, too, swung with confident lilt…..” …..”Listening to the Fourth Symphony in the Cadogan Hall was almost as frightening as it must have been to write it. The brusque shocks of its strident reminders of the horrors of life startled; they woke us up from the dream-world of an ‘ordinary’, agreeable life, flowing lyrically with pleasures. The performance shone….. it was masterly.”                                                                                                                                                                                               Ken Carter     

“The Ninth Symphony enchants the theatre”                                                                                …”The challenge with one of the most tremendous testing ground of the symphonic repertoire could be amply won”…..”Symphony movements followed in a crescendo of emotional intensity up to result in a triumph, a world-famous closing, which absorbed the audience and the interpreters. The orchestra answered with versatility and commitment to the appeals of M° Fabrizi who exalted intimate and vigorous pathos moments”…                                                                                                                                                                                   Paolo Di Lorenzo