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Archetypes

This very cool collection of tours de force takes a random selection of archetypal themes composed and collaboratively performed by...

Reviewed by Laurence Vittes in issue: 06/2021

KRISTINSSON Moonbow

The earliest composition in Gunnar Andreas Kristinsson’s catalogue (at least on his website) is a song for mixed choir from...

Reviewed by Guy Rickards in issue: 06/2021

KANDER dwb (driving while black)

If Susan Kander and Roberta Gumbel’s dwb (driving while black) had premiered as scheduled two months before the death of...

Reviewed by Laurence Vittes in issue: 06/2021

CREAN The Priestess of Morphine

What makes an opera an opera? Rosśa Crean styles The Priestess of Morphine: A Forensic Study of Marie-Madeleine in the...

Reviewed by Guy Rickards in issue: 06/2021

RAMEAU Les Indes Galandes (Tournet)

Les Indes galantes – ‘The amorous Indies’ – was first staged at the Paris Opéra in 1735. Whether called an...

Reviewed by Richard Lawrence in issue: 06/2021

MOZART Così fan tutte (Mallwitz)

It’s something of a miracle that this production of Così fan tutte took place at all … but then, it...

Reviewed by Mark Pullinger in issue: 06/2021

MASCAGNI Iris (Krieger)

Even for an era of technicoloured orchestration, the opening of Mascagni’s Iris (1898) is a knockout. It’s night, and a...

Reviewed by Richard Bratby in issue: 06/2021

HEISE Drot og marsk

Denmark is awash with homegrown 19th-century operas right now. Just as August Enna’s Kleopatra was being revived at Copenhagen’s old...

Reviewed by Andrew Mellor in issue: 06/2021

William Towers: Handelian Pyrotechnics

Some sort of theme, concept or imaginative angle often yields the most rewarding outcomes for Handel aria recitals. William Towers...

Reviewed by David Vickers in issue: 06/2021

DONIZETTI Lucrezia Borgia (Frizza)

Filmed at the 2019 Donizetti Festival in Bergamo, this new Lucrezia Borgia is a compelling if uneven affair, handsomely conducted...

Reviewed by Tim Ashley in issue: 06/2021

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