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R CLARKE Works for Viola

Who was Rebecca Clarke? You’d be forgiven for asking. Today she’s largely forgotten. In her own opinion her only ‘one...

Reviewed by Hannah Nepil in issue: 05/2016

BRUCH String Quartets, Piano Quintet

When Max Bruch’s music was compared unfavourably to Brahms’s, he had his excuse ready: the pram in the hall. ‘I...

Reviewed by Richard Bratby in issue: 05/2016

Christina & Michelle Naughton: Visions

Four years after their impressive debut release on Orfeo, the twin-sister piano duo Christina and Michelle Naughton begin a relationship...

Reviewed by Jed Distler in issue: 05/2016

Arias for Domenico Annibali

Domenico Annibali (c1705-c1779) was employed at the Dresden court opera from 1730 until his retirement in 1764 – but from...

Reviewed by David Vickers in issue: 05/2016

Maximilian Schmitt: How Friendly the Day Shines

Perhaps still more known as an early music and Lieder singer, Maximilian Schmitt has made a pertinent selection for his...

Reviewed by Mike Ashman in issue: 05/2016

J STRAUSS II The Gypsy Baron

You can rely on Eduard Hanslick to get the wrong end of the stick. ‘Close to the dangerous borderline of...

Reviewed by Richard Bratby in issue: 05/2016

HASSE Artaserse

Metastasio’s librettos dominated the opera stages of Europe for most of the 18th century, and one of his most popular...

Reviewed by David Vickers in issue: 05/2016

HANDEL Arminio

Up until this month, Handel’s 1736 Arminio was one of a very select club among the composer’s operas – those...

Reviewed by Alexandra Coghlan in issue: 05/2016

BIZET Carmen

Carmen: a tale of passion played out in sultry Seville. Francesca Zambello’s Royal Opera production provides many of the ingredients:...

Reviewed by Mark Pullinger in issue: 05/2016

ELGAR Symphony No 1

Barenboim’s long association with, and love for, Elgar has effectively made it part of his musical DNA. He understands its...

Reviewed by Edward Seckerson in issue: 05/2016

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