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DVOŘÁK Alfred

The only explanation for Alfred is that it was a practice opera. Dvořák's first attempt in the medium, it was...

Reviewed by David Patrick Stearns in issue: 06/2015

DONIZETTI La Favorite

Like Les martyrs (see below), La favorite – which had its Paris premiere at the end of the same year...

Reviewed by Mike Ashman in issue: 06/2015

MARAIS; DESTOUCHES; HANDEL Sémélé

It seems an excellent idea to take extracts from different settings of the story of Semele. Marais’s tragédie lyrique Sémélé...

Reviewed by David Vickers in issue: 05/2015

Bryan Hymel: Héroïque

Long before he titled his first solo disc ‘Héroïque’, Bryan Hymel achieved hero status by filling in for fallen comrades...

Reviewed by David Patrick Stearns in issue: 05/2015

Diana Damrau: Fiamma Belcanto

Sopranos in Italian repertoire suddenly seem to have been reading Philip Gossett’s Divas and Scholars book. Here, following the work...

Reviewed by Mike Ashman in issue: 05/2015

WAGNER Der fliegende Holländer

Der fliegende Holländer – despite being a ghost story with spectacular outdoor scenes – is essentially a chamber opera about...

Reviewed by Mike Ashman in issue: 05/2015

STRAUSS Feuersnot

Part of the importance of this excellent new recording of Strauss’s second opera lies in the fact that it includes...

Reviewed by Hugo Shirley in issue: 05/2015

STRAUSS Ariadne auf Naxos

Oehms Classics and Oper Frankfurt continue to buck the prevailing record-company trend in releasing primarily CD recordings of its performances....

Reviewed by Hugo Shirley in issue: 05/2015

STEFFANI Niobe, Regina di Tebe

We have only just welcomed the Boston Early Music Festival’s groundbreaking account of Steffani’s Niobe (Munich, 1688), and now another...

Reviewed by David Vickers in issue: 05/2015

SALIERI The Chimney Sweep

Premiered at Joseph II’s new German National Theatre in April 1781, Salieri’s The Chimney Sweep (Der Rauchfangkehrer) is an agreeably...

Reviewed by Richard Wigmore in issue: 05/2015

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