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Review of JANÁČEK Katya Kabanova (Rattle)

JANÁČEK Katya Kabanova (Rattle)

This Katya Kabanova forms the second instalment of Simon Rattle’s LSO Live series of Janáček’s major operas, begun in summer...

Reviewed by Tim Ashley in issue: 03/2024

Review of John Holt: Facets Five

John Holt: Facets Five

John Holt’s eighth recording for Crystal begins with eight pleasant recital pieces before finishing with a chamber music masterwork, Eric...

Reviewed by Laurence Vittes in issue: 03/2024

Review of COPLAND; CRESTON; KAY; PISTON Concertos & Orchestral Suites

COPLAND; CRESTON; KAY; PISTON Concertos & Orchestral Suites

The National Orchestral Institute Philharmonic may be an occasional ensemble, tied to annual festivals at the University of Maryland, but...

Reviewed by Guy Rickards in issue: 03/2024

Review of CABANISS Four Elements

CABANISS Four Elements

Collaborative undertakings for the stage comprise a significant portion of Thomas Cabaniss’s oeuvre – not only operas but dance works...

Reviewed by Thomas May in issue: 03/2024

Review of Shades of Romani Folklore

Shades of Romani Folklore

With so many superb young string quartets active on the music scene, it is heartening to realise that the genre...

Reviewed by Donald Rosenberg in issue: 03/2024

Review of VERDI I Lombardi alla Prima Crociata (Repušić)

VERDI I Lombardi alla Prima Crociata (Repušić)

Verdi’s fourth opera, I Lombardi, comes with little consensus opinion, the music suggesting an overlooked masterwork though the beyond-pedestrian libretto...

Reviewed by David Patrick Stearns in issue: 02/2024

Review of TCHAIKOVSKY Iolanta. The Nutcracker (Wellber)

TCHAIKOVSKY Iolanta. The Nutcracker (Wellber)

Iolanta, Tchaikovsky’s final opera, and The Nutcracker, his final ballet, premiered together at the Mariinsky Theatre in December 1892. Initial...

Reviewed by Mark Pullinger in issue: 02/2024

Review of ROSSINI Il barbiere di Siviglia (Mariotti)

ROSSINI Il barbiere di Siviglia (Mariotti)

It took a French theatre director of genius, Jean-Pierre Ponnelle, to give us a near-definitive staging of the Beaumarchais-Rossini Il...

Reviewed by Richard Osborne in issue: 02/2024

Review of PUCCINI Tosca (Montanaro)

PUCCINI Tosca (Montanaro)

This new Tosca forms the latest release in Pentatone’s Puccini series centred round the pairing of American soprano Melody Moore...

Reviewed by Tim Ashley in issue: 02/2024

Review of PORPORA Polifemo (Petrou)

PORPORA Polifemo (Petrou)

The Opera of the Nobility’s production of Polifemo ran at the King’s Theatre from February to June 1735 in direct...

Reviewed by David Vickers in issue: 02/2024

Review of PADEREWSKI Manru (Wendeberg)

PADEREWSKI Manru (Wendeberg)

Paderewski was a far more substantial composer than his piano-showcase pieces would suggest, as proved by his first and only...

Reviewed by David Patrick Stearns in issue: 02/2024

Review of MONTEVERDI L'incoronazione di Poppea (Alarcón)

MONTEVERDI L'incoronazione di Poppea (Alarcón)

This production of Monteverdi’s last operatic masterpiece was filmed on the stage of the Opéra Royal at Versailles in January...

Reviewed by Lindsay Kemp in issue: 02/2024

Review of MENOTTI Amahl and the Night Visitors (Loddgard)

MENOTTI Amahl and the Night Visitors (Loddgard)

Menotti’s Amahl and the Night Visitors belongs to that curious class of works that are widely supposed to be ubiquitous...

Reviewed by Richard Bratby in issue: 02/2024

Review of LECLAIR Scylla et Glaucus (Vashegyi)

LECLAIR Scylla et Glaucus (Vashegyi)

Leclair’s only commission from the Paris Opéra was a box-office flop, never revived on the public stage until modern times....

Reviewed by David Vickers in issue: 02/2024

Review of GAZZANIGA L'isola d'Alcina (Ehrhardt)

GAZZANIGA L'isola d'Alcina (Ehrhardt)

If you have already heard of Giuseppe Gazzaniga it is probably because his ‘Don Giovanni’ middle act in Il capriccio...

Reviewed by David Vickers in issue: 02/2024

Review of BERTIN Fausto (Rousset)

BERTIN Fausto (Rousset)

When Fausto was first performed at the Théâtre-Italien in Paris in March 1831, there was much comment in the press,...

Reviewed by Tim Ashley in issue: 02/2024

Review of BRITTEN War Requiem (including rehearsal sequence. Britten)

BRITTEN War Requiem (including rehearsal sequence. Britten)

Britten’s War Requiem touched a trapped nerve in the collective psyche of post-war Britain, commemorating the war dead with both...

Reviewed by Peter Quantrill in issue: 02/2024

Review of Sandrine Piau: Reflet

Sandrine Piau: Reflet

This programme explores pre-war Ravel, Koechlin and Britten that happens to sit in the sweetest spots of Piau’s comfort zone,...

Reviewed by David Patrick Stearns in issue: 02/2024

Review of 'Morning Star’

'Morning Star’

‘Morning Star’ follows where 2019’s ‘Christmas’ (12/19) led – a festive release of a distinctly grown-up sort, this time taking...

Reviewed by Alexandra Coghlan in issue: 02/2024

Review of WAGNER Wesendonck Lieder (Joyce DiDonato)

WAGNER Wesendonck Lieder (Joyce DiDonato)

Joyce DiDonato’s performance of ‘Schmerzen’ from the Wesendonck Lieder formed part of her ‘Eden’ album (3/22), a mixed programme crossing...

Reviewed by Hugo Shirley in issue: 02/2024


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