Review - The Mercury Masters: Antal Dorati in London
Rob Cowan dips into the latest Eloquence collections of the conductor’s recordings
I should have learnt long ago how foolish it is to make an 'outright recommendation' in these pages, because as...
Reviewed by Alan Blyth in issue: 11/1989
Rossini's Armida is one of the finest of musical realisations of Tasso's tale of the temptress with supernatural powers. Only...
Reviewed by Richard Osborne in issue: 3/2000
The glowing richness of Sharon Bezaly’s tone is immediately striking. It may be something of an acquired taste compared to...
Reviewed by Harriet Smith in issue: 6/2006
Prior to writing this review I had heard this recording when it was being played in a Cornish tea-shop where...
Reviewed by Adrian Edwards in issue: 3/1995
This 1957 production of Berlioz’s epic five-act opera was the first modern attempt to stage the whole work in one...
Reviewed by po'connor in issue: 10/2009
It is interesting to compare Heifetz's transcriptions with those of Kreisler. Whereas the latter was an accomplished composer, whose original...
Reviewed by James Methuen-Campbell in issue: 12/1988
Kun-Woo Paik starts a Beethoven cycle for Decca with mixed results. On the plus side, his muscular, energetic pianism suits...
Reviewed by Jed Distler in issue: 10/2005
Glorious sound here: rich, warm and spacious. There is refined detail, too, partly the result of the conductor's care both...
Reviewed by Ivan March in issue: 4/1991
Who is going to turn up their noses at 82 and a half minutes of Russian cello-and-piano classics, delivered with...
Reviewed by David Fanning in issue: 8/2011
Peter Maxwell Davies has written more concertos than most, but this is his first for the most popular of all...
Reviewed by Michael Oliver in issue: 12/1998
Rob Cowan dips into the latest Eloquence collections of the conductor’s recordings
Rob Cowan’s monthly survey of historic reissues and archive recordings
This compact, all-in-one hi-fi package from Pro-Ject strips away the system-matching fuss,...
‘There is very little comfort here for anyone who regards music as an ennobling or humanising force’
Andrew Farach-Colton enjoys a sumptuous set of the Japanese conductor’s recordings
Rob Cowan on sets honouring a composer anniversary and a Croatian conductor
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