Review of Isabelle Demers: The Chicago Recital

Isabelle Demers: The Chicago Recital

Isabelle Demers is a Quebec-born organist who revels in the music she plays and the sounds she can produce by...

Reviewed by Donald Rosenberg in issue: 11/2020

Review of HERMANN Whitman. Psycho

HERMANN Whitman. Psycho

Like many successful Hollywood composers, Bernard Herrmann pursued musical endeavours beyond (in his time) the celluloid. Studies at Juilliard were...

Reviewed by Donald Rosenberg in issue: 11/2020

Review of FUCHS Point of Tranquility

FUCHS Point of Tranquility

Let me say right from the outset that this disc is as engaging, well performed and brightly recorded a programme...

Reviewed by Guy Rickards in issue: 11/2020

Review of JS BACH Soli Dei Gloria: Transcriptions for Trumpet and Organ

JS BACH Soli Dei Gloria: Transcriptions for Trumpet and Organ

Inspired by Pablo Casals’s belief in playing Bach every day, and the conviction that Bach aspired to a sense of...

Reviewed by Laurence Vittes in issue: 11/2020

Review of VIVALDI Il Tamerlano (Il Bajazet) RV 703 (Dantone)

VIVALDI Il Tamerlano (Il Bajazet) RV 703 (Dantone)

Vivaldi’s pasticcio was commissioned by Verona’s Accademia Filarmonico for their recently built theatre during the 1734-35 Carnival. The manuscript score...

Reviewed by David Vickers in issue:

Review of ROSSINI Moïse et Pharaon (Carminati)

ROSSINI Moïse et Pharaon (Carminati)

This latest release from the annual Rossini festival in Wildbad in southern Germany is one of its more successful, and...

Reviewed by Richard Osborne in issue: 11/2020

Review of MOZART Le Nozze di Figaro (Bolton)

MOZART Le Nozze di Figaro (Bolton)

Updating Figaro is always likely to minimise the class tensions that underlie this most humane and (potentially) poignant of musical...

Reviewed by Richard Wigmore in issue: 11/2020

Review of LEHÁR Cloclo (Burkert)

LEHÁR Cloclo (Burkert)

We already know Mlle Cloclo – or do we? Along with Lolo, Margot, Froufrou and the rest, isn’t she one...

Reviewed by Richard Bratby in issue: 11/2020

Review of HENZE Der Prinz von Homburg (Meister)

HENZE Der Prinz von Homburg (Meister)

Henze was 32 in 1958 when he wrote Der Prinz von Homburg, five years into his self-imposed Italian exile and...

Reviewed by Peter Quantrill in issue: 11/2020

Review of CESTI La Dori (Dantone)

CESTI La Dori (Dantone)

That Cesti’s La Dori had such a varied performance history says something about the changing tastes of 17th-century opera audiences....

Reviewed by Iain Fenlon in issue: 11/2020

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