the utter master of the instrument, and surmounts the technical difficulties works such as the present six concertos pose to lesser mortals with enviable ease … all lovers of Baroque music will enjoy this.

[Azzolini] does not necessarily do what you expect but he is always tasteful, always lyrical, always musical. He himself likens the bassoon's role in these concertos to Harlequin, which explains a lot, for here is a player of compelling character, wit and likeability.

I’ve waxed lyrical about Azzolini’s playing on the two previous discs in this Vivaldi Edition series. Nothing changes here in this third volume … [a] lovely disc

Azzolini is one of the most brilliant players of the baroque bassoon these days...it is not just his virtuosity which is impressive. In the slow movements he shows his capabilities in the realm of expression. The ensemble L'Aura Soave Cremona operates on the same wavelength.

The five concertos here (out of a total of 39) are delightfully varied and boldly theatrical: Sergio Azzolini's nimble playing of a copy of a 1710 four-keyed bassoon occasionally sounds in the fast movements as if burbling underwater, but is reedily eloquent in the slow ones. Pungent support from the Cremona group L'aura Soave