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ZAMPONI Ulisse all’Isola di Circe

During the 1640s, Giuseppe (or Gioseffo) Zamponi became director of chamber music for the Spanish governor-general of the Low Countries,...

Reviewed by David Vickers in issue: 09/2014

WAGNER Arias and Excerpts

It is less than a decade since James Rutherford won the inaugural Seattle Opera International Wagner competition but he has...

Reviewed by Richard Fairman in issue: 09/2014

VERDI Otello

After performances of Aida in front of the pyramids and Peter Grimes on the beach at Aldeburgh, it is perhaps...

Reviewed by Richard Fairman in issue: 09/2014

STRAUSS Elektra

For many, the German soprano Evelyn Herlitzius is today’s finest Elektra. And the record companies seem to agree: these two...

Reviewed in issue 09/2014

Karina Gauvin: Mozart Arias

Over the last decade Karina Gauvin has proved herself one of the most delightful of Baroque sopranos. Her pellucid tone,...

Reviewed by Richard Wigmore in issue: 09/2014

JONCIÈRES Dimitri

The Palazzetto Bru Zane in Venice certainly does not skimp on its championship of sidelined French Romantic music. Here, in...

Reviewed by Geoffrey Norris in issue: 09/2014

GLUCK Orfeo ed Euridice

This is the first version of the opera, composed for Vienna in 1762, with none of the accretions from the...

Reviewed by Richard Lawrence in issue: 09/2014

DONIZETTI Don Pasquale

In the theatre Donizetti’s well-sprung comedy usually seems to work like clockwork, so it is surprising there is no obvious...

Reviewed by Richard Fairman in issue: 09/2014

Emilía Rós Sigfúsdóttir: Portrait

The flute stands out here as being the most flexible instrument in the woodwind family, capable of prodigious feats of...

Reviewed by Ivan March in issue: 09/2014

Ensemble Recherche: Libeslieder

Nothing here need give Elton John or James Blunt any sleepless nights. For starters, none of these 30 love songs...

Reviewed by Philip Clark in issue: 09/2014

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