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SCHUBERT Die schöne Müllerin (Julian Prégardien)

A child of the 18th century, Schubert’s first interpreter, the baritone Johann Michael Vogl, would routinely subject melodic lines to...

Reviewed by Richard Wigmore in issue: 10/2024

RODGERS & HAMMERSTEIN Carousel

It’s the best kind of logic – follow Rodgers and Hammerstein’s first Broadway show Oklahoma! with their second. This again...

Reviewed by Edward Seckerson in issue: 10/2024

PARRY I Was Glad

Although Parry is often thought of as a composer of Anglican church music, he did in fact write very little...

Reviewed by Jeremy Dibble in issue: 10/2024

HAYDN Seven Last Words (Helen Kearns)

I didn’t ‘get’ this touched-up version of the Seven Last Words when I first heard it courtesy of the Henschel...

Reviewed by Richard Wigmore in issue: 10/2024

GESUALDO Silenzio mio: Fourth Book of Madrigals

I warmly welcome this new addition to our collective understanding of the Prince of Venosa. No longer headlining as a...

Reviewed by Edward Breen in issue: 10/2024

FAURÉ Requiem GOUNOD Messe de Clovis (Niquet

Conductors who record Fauré’s Requiem are likely to do so at least twice. Mysteries are few, vocal lines have no...

Reviewed by David Patrick Stearns in issue: 10/2024

DEAN Rooms of Elsinore

em>Hamlet tends to get under the skin, but it’s a sign of how seriously Brett Dean took his 2010 Glyndebourne...

Reviewed by Andrew Mellor in issue: 10/2024

Brahms Songbook Vol 2

For the second release in his projected survey of Brahms’s complete songs on Linn, Malcolm Martineau is joined by mezzo...

Reviewed by Hugo Shirley in issue: 10/2024

AHO; RAUTAVAARA Joy and Asymmetry

Teacher and pupil Einojuhani Rautavaara and Kalevi Aho sit well together, not least as each tempered stringent formal principles with...

Reviewed by Andrew Mellor in issue: 10/2024

Maria Narodytska: War Poems

The grim cloak of war informs all of the music on this disc to varying degrees, as discussed in vivid...

Reviewed by Jed Distler in issue: 10/2024

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