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Sirius Quartet: Playing on the Edge

On the evidence of their playing on this fascinating disc from Navona, the Sirius Quartet are a fine, adaptable ensemble,...

Reviewed by Guy Rickards in issue: 11/2019

REALE Children's Palace

Paul Reale (b1943 in New Jersey) studied at Columbia in the 1960s with Chou Wen chung (with whom he had...

Reviewed by Guy Rickards in issue: 11/2019

MEYER Ring Out

In each of Jessica Meyer’s differently configured works from the last five years, knife-edge anticipation opens on to unexpected, often...

Reviewed by Laurence Vittes in issue: 11/2019

KARCHIN Jane Eyre

In 2016 at Hunter College, New York, the Center for Contemporary Opera staged the world premiere of Jane Eyre, in...

Reviewed by Laurence Vittes in issue: 11/2019

WEBER Euryanthe (Trinks. Stiedry)

Reviews of Weber’s follow-up to Der Freischütz tend to begin with the listener, enchanted all over again by the score’s...

Reviewed by Mike Ashman in issue: 11/2019

Ildar Abdrazakov: Verdi

Albums devoted to the bass voice aren’t all that common, fewer yet a bass recital devoted to one composer. The...

Reviewed by Neil Fisher in issue: 11/2019

STANFORD The Travelling Companion (Purser)

This is a landmark: the first full-length commercial recording of any of Stanford’s nine completed operas. It’s all the more...

Reviewed by Richard Bratby in issue: 11/2019

SPONTINI Le metamorfosi di Pasquale (Montesano)

Some great operas received disastrous premieres: Il barbiere di Siviglia, where the audience hissed and jeered and a cat wandered...

Reviewed by Mark Pullinger in issue: 11/2019

SALIERI La fiera di Venezia (Ehrhardt)

La fiera di Venezia – ‘The fair of Venice’ – is quite different from the operas that Salieri composed for...

Reviewed by Richard Lawrence in issue: 11/2019

ROSSINI Sigismondo (Wilson)

It would appear at first glance that the release of this recording of one of Rossini’s more egregious operas has...

Reviewed by Richard Osborne in issue: 11/2019

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