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BARTÓK Suite No 1. Kossuth

JoAnn Falletta’s performances of these early Bartók show-stoppers really do raise the roof. Making the First Suite sound compelling is...

Reviewed by Rob Cowan in issue: 11/2014

JS BACH Violin Concertos

For all the ‘con moto’ hype of modern-day Italian Baroque musicians in recent years – including Giuliano Carmignola sitting on...

Reviewed by Jonathan Freeman-Attwood in issue: 11/2014

AHO Theramin Concerto. Horn Concerto

Eighteen concertos, by the composer’s own reckoning, for each of the main instruments in the Romantic symphony orchestra, and counting....

Reviewed by David Fanning in issue: 11/2014

JL ADAMS Become Ocean

Awarded the 2014 Pulitzer Prize for Music, Become Ocean is set to finally extricate John Luther Adams from the shadow...

Reviewed by Pwyll ap Siôn in issue: 11/2014

Cecilia Bartoli: St Petersburg

The latest of Cecilia Bartoli’s exuberant explorations of neglected areas of 17th- and 18th-century opera has journeyed north to St...

Reviewed by Lindsay Kemp in issue: 11/2014

HANDEL; BONONCINI; ARIOSTI Arias and scenes

‘Some say, compar’d to Bononcini / That Mynheer Handel’s but a Ninny. / Others aver, that he to Handel /...

Reviewed by Richard Wigmore in issue: 11/2014

VERDI Il Trovatore

Here is a dilemma. Is the presence of Anna Netrebko and Plácido Domingo enough to justify a purchase, or does...

Reviewed by Richard Fairman in issue: 11/2014

A TCHAIKOVSKY The Merchant of Venice

It is a minor miracle that a score so well paced and characterised, so well written for its many voices,...

Reviewed by Mike Ashman in issue: 11/2014

STRAUSS Intermezzo

Long dismissed by the squeamish as tastelessly voyeuristic but admired by many whose attitudes to the composer were generally far...

Reviewed in issue 11/2014

RAMEAU Les Indes galantes

Rameau’s opéra-ballet Les Indes galantes (mostly 1735) examines why true love seems to have been abandoned in Europe and can...

Reviewed by David Vickers in issue: 11/2014

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