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MAZZOLI Proving Up

Missy Mazzoli’s Proving Up is one of the most successful and striking of a new generation of American operas. It...

Reviewed by Philip Kennicott in issue: 10/2020

MASSENET Don César de Bazan (Romano)

A word first about presentation. Don César de Bazan was staged in 2016 by Les Frivolités Parisiennes. This is a...

Reviewed by Richard Lawrence in issue: 10/2020

LULLY Armide (1778. Niquet)

Armide was the last of Lully’s collaborations with the librettist Philippe Quinault. It was staged at the Paris Opéra in...

Reviewed by Richard Lawrence in issue: 10/2020

JANAČEK The Cunning Little Vixen (Rattle)

Recordings of Janáček’s The Cunning Little Vixen and Sinfonietta represent major milestones in Simon Rattle’s early discography: the latter with...

Reviewed by Hugo Shirley in issue: 10/2020

HANDEL Saul (Cummings. McGegan)

For all his pomposity and eccentricities, the lordly Charles Jennens was Handel’s most rewarding collaborator. The relationship between two men...

Reviewed by Richard Wigmore in issue: 10/2020

Voices of Angels

There’s a post-Nietzschean agenda to this programme, according to Paul Griffiths’s booklet note, but neither Gubaidulina nor Schnittke, for example,...

Reviewed by Ivan Moody in issue: 10/2020

Jonas Kaufmann: Selige Stunde - Romantic Songs

Jonas Kaufmann is nothing if not versatile. Just a few months ago I was reviewing his new recording of Otello...

Reviewed by Hugo Shirley in issue: 10/2020

Portraits de La Folie

The figure of ‘La Folie’, announced here in an impulsive air from André Campra’s Les fêtes vénitiennes, was a perennial...

Reviewed by Richard Wigmore in issue: 10/2020

Flax & Fire: Songs of Devotion

A former Oxford choral scholar – though he hardly sounds like one – Stuart Jackson has made his mark on...

Reviewed by Richard Wigmore in issue: 10/2020

After Silence

Anniversary releases carry a certain pressure – a need to define, represent, embody. Do you gather up your greatest hits...

Reviewed by Alexandra Coghlan in issue: 10/2020

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