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PUCCINI Gianni Schicchi

You normally know what you’re getting from a Woody Allen production when the black screen with the white credits pops...

Reviewed by Neil Fisher in issue: 08/2016

MOZART Die Entführung aus dem Serail

This is such an enjoyable production of Mozart’s Turkish opera that it seems churlish to draw attention to its defects....

Reviewed by Richard Lawrence in issue: 08/2016

MEYERBEER Dinorah

Meyerbeer needs his operatic champions. Robert le diable was poorly served by Laurent Pelly’s 2012 production at Covent Garden, but...

Reviewed by Mark Pullinger in issue: 08/2016

GOUNOD Cinq-Mars

What with The Musketeers and Versailles on BBC television, 17th-century France is on a roll at the moment. It can...

Reviewed by Richard Lawrence in issue: 08/2016

Michael Collins: The Lyrical Clarinet Vol 2

What’s in a name? Michael Collins’s debut recital disc for EMI (9/92) was part of the label’s Virtuosi series and...

Reviewed by Mark Pullinger in issue: 08/2016

Martha Argerich & Daniel Barenboim: Live from Buenos Aires

In August 2014 Martha Argerich and Daniel Barenboim came together at the Teatro Colón, Buenos Aires, for their first-ever joint...

Reviewed by Richard Bratby in issue: 08/2016

Hora Cero

The 12 Cellists of the Berlin Philharmonic play tangos: you just know it’s going to sound gorgeous, and it does....

Reviewed by Richard Bratby in issue: 08/2016

VIERNE Piano Quintet

Vierne endured an unfairly troublous life: he was born nearly blind; both his wife and subsequent partner left him; he...

Reviewed by Jeremy Nicholas in issue: 08/2016

SIMPSON Night Music

Mark Simpson has said that extramusical ideas or narrative structures help his music ‘flow’ more easily. The only work on...

Reviewed by Andrew Mellor in issue: 08/2016

PROKOFIEV Violin Sonatas. Five Melodies

It is tempting, for simplicity’s sake, to describe Prokofiev’s violin sonatas as polar opposites – at least in terms of...

Reviewed by Hannah Nepil in issue: 08/2016

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