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VERDI Rigoletto

Dramatically we’re back in the stone age. No one apart from Louis Quilico’s jester or Isola Jones’s sexy Maddalena does...

Reviewed by Mike Ashman in issue: 01/2015

VERDI Falstaff

If the premise for Damiano Michieletto’s Salzburg production of Falstaff is not exactly promising, one can perhaps understand his reasons...

Reviewed by Hugo Shirley in issue: 01/2015

RAMEAU The Sound of Light

Teodor Currentzis’s effusive dedicatory preface suggests that Rameau’s music ‘radiates the richest Apollonian light. His music travels straight to your...

Reviewed by David Vickers in issue: 01/2015

RAMEAU Hippolyte et Aricie

Ivan Alexandre’s rigorously historicist production of Hippolyte et Aricie requires that singers almost always face the front and sing downstage,...

Reviewed by David Vickers in issue: 01/2015

MOZART Don Giovanni

With Don Giovanni productions placing the opera in nearly every imaginable time and place, this one may be the only...

Reviewed by David Patrick Stearns in issue: 01/2015

HASSE Siroe re di Persia

Metastasio’s libretto Siroe, re di Persia is based loosely on the life of the Persian King Khosrau II, whose aggressive...

Reviewed by David Vickers in issue: 01/2015

HANDEL Siroe, King of Persia

Siroe has been relatively little recorded among Handel’s operas; versions by Rudolph Palmer (Newport Classics, 5/92 – nla) and Andreas...

Reviewed by Lindsay Kemp in issue: 01/2015

HAHN Ciboulette

Well, well. It was Hahn who edited the score of Rameau’s Les fêtes de l’Hymen et de l’Amour, the opéra-ballet...

Reviewed by Richard Lawrence in issue: 01/2015

DONIZETTI Lucia di Lammermoor

We still await a stunning all-round version of this seminal drama on disc. To encompass fully a heroine already at...

Reviewed by Mike Ashman in issue: 01/2015

CAVALLI Elena

This Aix-en-Provence production (2013) represents the first time something close to the complete score of Elena (1659) has been performed...

Reviewed by David Vickers in issue: 01/2015

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