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WALKER Five Piano Sonatas (Steven Beck)
The five piano sonatas of George Walker (1922-2018) reveal the trajectory of his creative evolution, as well as the kind...
Reviewed by Jed Distler in issue: 03/2022
PRICE 'Uncovered, Vol 2'
Where has Florence Price been all our lives? Waiting for the world to open its ears and consciences to composers...
Reviewed by Donald Rosenberg in issue: 03/2022
GRIEG Violin Sonatas (Kaleb Chesnic)
Flautists will, I think, be rather excited by this disc. Transcriptions for flute of major works for violin is nothing...
Reviewed by Guy Rickards in issue: 03/2022
Ian Bostridge: Tormento d'amore
There are three stories being told here. The first is that, contrary to what people may think, the tenor was...
Reviewed by Lindsay Kemp in issue: 03/2022
STRADELLA Amare e fingere (De Carlo)
Amare e fingere was staged in Siena in May or June 1676 but might have been first performed in Rome...
Reviewed in issue 03/2022
ROSSINI L’occasione fa il ladro (Fogliani)
This is the second staging by the Rossini in Wildbad Festival of L’occasione fa il ladro, the richly freighted one-act...
Reviewed by Richard Osborne in issue: 03/2022
MONDONVILLE Titon Et l'Aurore (Christie)
Titon et l’Aurore was the third of Mondonville’s operas: first performed at the Paris Opéra in 1753, it was a...
Reviewed by Richard Lawrence in issue: 03/2022
HINDEMITH Sancta Susanna. Symphony 'Mathis der Maler'. Nusch-Nuschi-Tanze
The Mathis der Maler Symphony (1933 34) gets top billing here but it is the third recording of Hindemith’s still...
Reviewed by Guy Rickards in issue: 03/2022
HANDEL 'Enchantresses' (Sandrine Piau)
This is an excellent successor to the album that Sandrine Piau recorded with Christophe Rousset and Les Talens Lyriques 18...
Reviewed by Richard Lawrence in issue: 03/2022
HANDEL Semele (Alarcón)
Leonardo García Alarcón cuts Semele copiously yet reinstates two numbers that Handel rejected and never performed. Part 1 is given...
Reviewed by David Vickers in issue: 03/2022
DEBUSSY Pelléas et Mélisande (Roth)
As with London buses, so with French recordings of Pelléas et Mélisande. When welcoming Pierre Dumoussaud’s fine Alpha set from...
Reviewed by Mark Pullinger in issue: 03/2022
ABRAHAMSEN The Snow Queen (Meister)
Hans Abrahamsen was at work on let me tell you (3/16) when the Royal Danish Opera asked him for a...
Reviewed by Andrew Mellor in issue: 03/2022
Russian Roots
This generous, natural-sounding recording was made in Potton Hall last summer. Guest soloist Katharina Konradi is not easily pigeonholed. The...
Reviewed by David Gutman in issue: 03/2022
Rocking Horse Road
Whose voice would you take with you to a desert island? Jacqui Dankworth would come close to the top of...
Reviewed by Pwyll ap Siôn in issue: 03/2022
Mirages: The Art of French Song
Roderick Williams and Roger Vignoles explore French song-cycles, familiar or otherwise, in an engaging recital, which also adds into the...
Reviewed by Tim Ashley in issue: 03/2022
Letter to Kamilla
One of the earliest tragedies the Jewish people had to endure was the destruction of the Second Temple by the...
Reviewed by Rob Cowan in issue: 03/2022
Hypnos
La Tempête’s projects always give one plenty to think about. Here their subject is sleep and its metaphorical adjunct, death,...
Reviewed by Fabrice Fitch in issue: 03/2022
Sasha Cooke: How do I find you
While many musicians experienced meltdown during lockdown (for understandable reasons, of course), others found creative and artistic freedom in the...
Reviewed by Pwyll ap Siôn in issue: 03/2022
The Queen's Six: From Windsor With Love
It’s like the teacher’s pet bursting out in a hail of expletives, or a Hollywood good girl gone suddenly bad:...
Reviewed by Alexandra Coghlan in issue: 03/2022
Joyce DiDonato: Eden
We begin high up in the atmosphere with a chord that shimmers into being like the opening of Ralph Vaughan...
Reviewed by Mark Seow in issue: 03/2022
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