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ROSSINI L’italiana in Algeri (Spinosi)

Cecilia Bartoli’s long established collaboration with stage directors Moshe Leiser and Patrice Caurier has yielded some memorable results but none...

Reviewed by Richard Osborne in issue: AW2019

Levy Sekgapane: Giovin fiamma

True Rossini tenors are a rare breed. Applicants require a light tenor, pingy top notes and florid ease through the...

Reviewed by Mark Pullinger in issue: AW2019

PUCCINI Le Willis (Elder)

When Opera Rara gave a concert performance of Puccini’s Le Villi in London in late 2018 with Mark Elder and...

Reviewed by Neil Fisher in issue: AW2019

MOZART Die Zauberflöte (Nézet-Séguin)

Six down, with Idomeneo – one hopes – still to come. Once again, Yannick Nézet-Séguin proves himself to be a...

Reviewed by Richard Lawrence in issue: AW2019

Libertà! Mozart Et L'opéra (Pygmalion/Pichon)

Are upmarket compilations becoming a trend? An early example is Marc Minkowski’s Rameau disc ‘Une symphonie imaginaire’ (Archiv, A/05). When...

Reviewed by Richard Lawrence in issue: AW2019

KORNGOLD Das Wunder der Heliane (Albrecht)

You may have objections to the piece itself. Described in advance by Korngold as his ‘greatest’ work, Heliane’s Miracle (1927)...

Reviewed by Mike Ashman in issue: AW2019

GOUNOD Faust (Matvejeff)

The popularity of Gounod’s Faust in the half-century or so since its unveiling was such that New York’s Metropolitan Opera...

Reviewed by Hugo Shirley in issue: AW2019

GOLDSCHMIDT Beatrice Cenci (Debus)

Completed in 1950, Beatrice Cenci was one of five operas commissioned to mark the Festival of Britain in 1951. Only...

Reviewed by Tim Ashley in issue: AW2019

CASELLA La donna serpente (Noseda)

What happened to the once flourishing muse of Italian opera between Turandot (1926, a date now regarded as a watershed...

Reviewed by Mike Ashman in issue: AW2019

Magdalena Kožená: Soirée

Don’t turn up empty-handed of an evening chez Rattle. While a bottle of red wine and a bouquet of flowers...

Reviewed by Mark Pullinger in issue: AW2019

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