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PUCCINI Tosca (Rattle)

‘Ecco un artista’ says Tosca as her boyfriend flops to the floor, in fact mortally wounded and not showing any...

Reviewed by Neil Fisher in issue: 12/2017

MOZART Don Giovanni (Rhorer)

Jérémie Rhorer and his lively period forces won plaudits in these pages and elsewhere for their Paris recordings of Die...

Reviewed by Richard Wigmore in issue: 01/2018

HANDEL Silla (Lucio Cornelio Silla)

The plot of Handel’s early London opera Silla (1713) concerns the dissolute and ruthless Roman dictator Lucius Cornelius Sulla, whose...

Reviewed by David Vickers in issue: 01/2018

GODARD Dante

Guelphs and Ghibellines, a plea for unity from the hero: but we are in Dante’s Florence rather than Simon Boccanegra’s...

Reviewed by Richard Lawrence in issue: 12/2017

DONIZETTI Lucia di Lammermoor (Oren)

‘I have a very strong feminist agenda. My focus for this opera is 100 per cent on the female characters.’...

Reviewed by Mark Pullinger in issue: 12/2017

BELLINI Norma (Pappano)

This was the production that should have marked Anna Netrebko’s role debut as Bellini’s turbulent priestess. Instead the Bulgarian soprano...

Reviewed by Neil Fisher in issue: 01/2018

DEBUSSY Piano Music (Hough; Cho)

Hyperion has been keeping Roger Nichols particularly busy of late, writing the notes for Steven Osborne’s Debussy recital (enthusiastically reviewed...

Reviewed by Harriet Smith in issue: 01/2018

A Lute by Sixtus Rauwolf

After delighting us with the music of Jacobean and Italian Renaissance masters of the lute in his previous two recordings,...

Reviewed by William Yeoman in issue: 01/2018

Sofya Gulyak: Chaconne

Sofya Gulyak builds her new Champs Hill release around a series of chaconnes, dating from the early 18th century through...

Reviewed by Patrick Rucker in issue: 01/2018

SCARLATTI Keyboard Sonatas (van den Bercken)

There’s a sense of care about the whole production here, from the specially created cover art to the choice of...

Reviewed by Harriet Smith in issue: 01/2018

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