Notes & Reviews:
Antoine Dauvergne's final operatic work follows none of the established genres of the period. Taking a libretto written during the reign of Louis XIV in 1705, he drew on the best of his talent and skill to create a synthesis of everything that was modern at that time.
American Record Guide, May/June 2013
With this comedie-lyrique, the composer was certainly pointing to the style of direct, tuneful, light drama that became identified with Gretry. Its slender plot of domestic drama, set in Venice, reminds one of the comedies of Goldoni - who was, in fact, active in Paris at the time. The six singers are not familiar, but they are vocally excellent and idiomatic. The one who catches my attention is the bass Alain Buet, since - by a curious coincidence - he also appears in the Hercule recording.