Book review - Pierre Boulez: Organised Delirium (by Caroline Potter)
Neither a biography of his early years, nor a close analysis of the pieces that blew up post-war...
Out-and-out vibrato-less string tone from the Deutsche Kammerphilharmonie accentuates how Beethoven begins nearly all his major overtures with a note...
Reviewed by Peter Quantrill in issue: 01/2015
Tchaikovsky’s Serenade and Bartók’s Divertimento go well together, their liveliness and ease of invention concealing the brilliance and ingenuity of...
Reviewed by John Warrack in issue: 01/2015
Performance intentions expressed in booklet interviews can often present difficulties for listeners. Here, the iconoclastic impression of Yorck Kronenberg conveyed...
Reviewed by Jonathan Freeman-Attwood in issue: 01/2015
Florilegium put concert performances of the Brandenburg Concertos at the heart of their 20th-anniversary celebrations in 2011 and this recording...
Reviewed by Lindsay Kemp in issue: 01/2015
Nicolas Achten has thoughtfully woven together extracts from various 17th-century music dramas on the myth of Orpheus, from the Florentine...
Reviewed by David Vickers in issue: 01/2015
Terje Stensvold is a relatively late-starting but true-sounding baritone Wotan who phrases the god’s pronouncements well. Kurt Streit has not...
Reviewed by Mike Ashman in issue: 01/2015
Dramatically we’re back in the stone age. No one apart from Louis Quilico’s jester or Isola Jones’s sexy Maddalena does...
Reviewed by Mike Ashman in issue: 01/2015
If the premise for Damiano Michieletto’s Salzburg production of Falstaff is not exactly promising, one can perhaps understand his reasons...
Reviewed by Hugo Shirley in issue: 01/2015
Teodor Currentzis’s effusive dedicatory preface suggests that Rameau’s music ‘radiates the richest Apollonian light. His music travels straight to your...
Reviewed by David Vickers in issue: 01/2015
Ivan Alexandre’s rigorously historicist production of Hippolyte et Aricie requires that singers almost always face the front and sing downstage,...
Reviewed by David Vickers in issue: 01/2015
Neither a biography of his early years, nor a close analysis of the pieces that blew up post-war...
Morrison’s Tchaikovsky is a rationalist who rather enjoys himself and aspires to a Mozartian poise...
This Senofsky double pack is revelatory, especially Brahms’s Third Sonata, a thrilling account with...
These are engaging, spontaneous-sounding performances that if widely heard could well spark off a...
Richard Bratby charts the relationship between the conductor and his Italian orchestra
‘Mengelberg’s performances – like Furtwängler’s – were for the most part products of careful...
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