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PURCELL Dido and Aeneas

There’s a lot going for this newcomer. The scale is modest: single strings, with a theorbo to supplement Christopher Monks’s...

Reviewed by Richard Lawrence in issue: 08/2015

NIELSEN Maskarade

‘In this dear land where sunshine comes but once a year…we’d rot away and end up as compost unless we...

Reviewed by Mike Ashman in issue: 08/2015

MOZART Die Entführung aus dem Serail

This seems to be the first CD recording of Entführung for some years, so it’s especially welcome. It follows Don...

Reviewed by Richard Lawrence in issue: 08/2015

JANÁČEK Jenůfa

If you like dramaturgical solutions to an opera hinted at rather than spelt out in capitals, this revival of Christof...

Reviewed by Mike Ashman in issue: 08/2015

JANÁČEK Jenůfa

Recordings of Jenůfa now range from the pioneering set conducted by his biographer and critic Jaroslav Vogel to sets from...

Reviewed by John Warrack in issue: 08/2015

HONEGGER Jeanne d'Arc au bûcher

The first collaboration between Arthur Honegger and Paul Claudel, Jeanne d’Arc au bûcher, dates from 1938, though it only acquired...

Reviewed by Tim Ashley in issue: 08/2015

ESCAICH Claude

As minister for justice under François Mitterand, the French lawyer and politician Robert Badinter played a key role in the...

Reviewed by Philip Kennicott in issue: 08/2015

CAMPRA Tancrède

Campra’s Tancrède was first performed at Paris’s Académie Royale de Musique in 1702 and revived sporadically until as late as...

Reviewed by David Vickers in issue: 08/2015

BOESMANS Au Monde

Belgian composer Philippe Boesmans, just turned 79, was a close associate-cum-student of Henri Pousseur and the composers around him in...

Reviewed by Mike Ashman in issue: 08/2015

Vanessa Benelli Mosell: [R]evolution

On paper, Vanessa Benelli Mosell’s ‘revolution/evolution’ concept seems provocative enough to draw attention. In reality, the thorny, intricate serial landscapes...

Reviewed by Jed Distler in issue: 08/2015

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