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Leos Janácek (1854-1928) is regarded as the greatest Czech composer of the early twentieth century. In his early works, which included the opera Sárka (1888), and numerous vocal and instrumental works, Janácek followed a traditional, Romantic idiom, typical of late nineteenth century music. Having completed Sárka, however, Janácek immersed himself in the folk music of his native Moravia, gradually developing an original compositional style. Eschewing regular metrical phrasing, Janácek developed a declamatory method of setting the voice that follows the natural rhythmic patterns of the Czech language. Characteristically, Janácek allowed these patterns to inform the music itself. In addition, Janácek's harmonies, forms and orchestration ......... From Allmusic

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Through his far-reaching endeavors as composer, performer, educator, and ethnomusicolgist, Béla Bartók emerged as one of the most forceful and influential musical personalities of the twentieth century. Born in Nagyszentmiklós, Hungary (now Romania), on March 25, 1881, Bartók began his musical training with piano studies at the age of five, foreshadowing his lifelong affinity for the instrument. Following his graduation from the Royal Academy of Music in 1901 and the composition of his first mature works -- most notably, the symphonic poem Kossuth (1903) -- Bartók embarked on one of the classic field studies in the history of ethnomusicology. With fellow countryman and composer Zoltán Kodály, he traveled throughout Hungary ........ From Allmusic

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In the late 1980s and early 1990s, director Michael Hampe and conductor Gianluigi Gelmetti, in connection with the Schwetzingen Festival, staged the four farsa’s (Il signor Bruschino, L’occasione fa il ladro, La cambiale di matrimonio, and La scala di seta) at the intimate Rococo theater. Fortunately for Rossini-lovers, these absolutely wonderful productions were videotaped. They are unpretentious stagings with beautiful, elaborate, realistic sets, extravagantly costumed, loaded with witty business, free of gratuitous shtick, and populated with a coterie of bel canto specialists. -- David L. Kirk, FANFARE

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Through his far-reaching endeavors as composer, performer, educator, and ethnomusicolgist, Béla Bartók emerged as one of the most forceful and influential musical personalities of the twentieth century. Born in Nagyszentmiklós, Hungary (now Romania), on March 25, 1881, Bartók began his musical training with piano studies at the age of five, foreshadowing his lifelong affinity for the instrument. Following his graduation from the Royal Academy of Music in 1901 and the composition of his first mature works -- most notably, the symphonic poem Kossuth (1903) -- Bartók embarked on one of the classic field studies in the history of ethnomusicology. With fellow countryman and composer Zoltán Kodály, he traveled throughout Hungary ........ From Allmusic

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Through his far-reaching endeavors as composer, performer, educator, and ethnomusicolgist, Béla Bartók emerged as one of the most forceful and influential musical personalities of the twentieth century. Born in Nagyszentmiklós, Hungary (now Romania), on March 25, 1881, Bartók began his musical training with piano studies at the age of five, foreshadowing his lifelong affinity for the instrument. Following his graduation from the Royal Academy of Music in 1901 and the composition of his first mature works -- most notably, the symphonic poem Kossuth (1903) -- Bartók embarked on one of the classic field studies in the history of ethnomusicology. With fellow countryman and composer Zoltán Kodály, he traveled throughout Hungary ........ From Allmusic

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Stage director Michael Hampe gives us the opera at the time and location of its original setting—and it’s momentary cause for ironic reflection just how seldom that happens these days. The result, aided and abetted by a fine cast, is an attractive, energetic production of Rossini’s one-act farce. Amelia Felle and David Kuebler deliver the best singing, alert and stylish, with excellent coloratura... FANFARE: Barry Brenesal

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As digital Petrushkas go, this is definitely one of the best. Chailly has his players characterize even the smallest detail (instrumental doublings are remarkably clear) and the savage attack of brass and big drums in "The Shrove-Tide Fair" has astonishing impact… Chailly's taut and urgent reading of The Rite adds another to the list of spectacular versions of this work that Decca have given us in the digital age... His reading remains at white heat all through, and is not likely to disappoint anyone. E.G. – Gramophone

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...But even compared with the LSO's fervent performances of the Sibelius symphonies with Davis in the '90s cannot compare with the fire of these 2003 recordings of the Third and Seventh. With the LSO's passionate virtuosity behind him, Davis creates nuanced but powerful performances, performances that are detailed yet sweeping, lyric yet epic, but, above all, loving. Davis and the LSO's Third is light but shot with shadows, poised but relentless, mysterious but triumphant. The Seventh is the sun cresting the snow-capped mountains, the wind rushing down from the peaks, their song soaring in the high, sharp air. Even though Davis does hum, anyone who loves Sibelius will have to hear these performances.

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Along with Leos Janacek, Bohuslav Martinu was one of the twin giants of Czech music in the twentieth century, a composer with a distinctly individual voice and a versatility that led him to excel in every medium from stage works to symphonies to string quartets. Martinu was born in the Moravian town of Policka. Starting violin lessons at the of seven, he gave his first recital when he was 15. By the age of 10 he had written his first compositions; his juvenilia include songs, piano music, symphonic poems, string quartets, and ballets. In 1906, he entered Prague Conservatory, but reading and the theater diverted Martinu from his studies, and he was finally expelled for "incorrigible negligence" in 1910. However, he continued composing. Exempted, as a ....... From Allmusic

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Through his far-reaching endeavors as composer, performer, educator, and ethnomusicolgist, Béla Bartók emerged as one of the most forceful and influential musical personalities of the twentieth century. Born in Nagyszentmiklós, Hungary (now Romania), on March 25, 1881, Bartók began his musical training with piano studies at the age of five, foreshadowing his lifelong affinity for the instrument. Following his graduation from the Royal Academy of Music in 1901 and the composition of his first mature works -- most notably, the symphonic poem Kossuth (1903) -- Bartók embarked on one of the classic field studies in the history of ethnomusicology. With fellow countryman and composer Zoltán Kodály, he traveled throughout Hungary ........ From Allmusic

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“Sets, costumes and acting are all under sensible direction and there are none of those silly diversionary indulgences that have become so habitual in recent years. There are four good vocal performances: by Elena Zilio and Nucci Condò, both sturdy mezzos; by David Kuebler, an accomplished lyric tenor; and by the grand veteran Carlos Feller... Ileana Cotrubas as the heroine sometimes touches the heart but at this stage in her career rarely delights the ear. Bartoletti and his players do justice to Rossini's score, as do the video director and his crew to the events onstage.” Gramophone Magazine, September 2007

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"Most of the music Purcell wrote for the theatre is relatively little heard and much of the music comes up with striking freshness in these performances using authentic instruments. As well as the charming dances and more ambitious overtures, we are offered more extended scena with soloists and chorus of which the nine excerpts from Theodosius are a particular entertaining example." Penguin Guide