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PORPORA Arias

Partnered ably by Academia Montis Regalis, Franco Fagioli sings with fulsome bravado and technical virtuosity in vibrant performances of 12...

Reviewed by David Vickers in issue: 12/2014

MOZART Desperate Heroines: Opera Arias

‘Desperate heroines’ runs the rubric for what Sandrine Piau dubs ‘a Mozartian “cartography” of the feminine condition’. Desperation is hardly...

Reviewed by Richard Wigmore in issue: 12/2014

MOZART Don Giovanni

Here, only five years after Francesca Zambello’s production (Opus Arte, 7/09), is a new version of Don Giovanni from Covent...

Reviewed by Richard Lawrence in issue: 12/2014

MACMILLAN Clemency

Good ideas are everywhere in Clemency, though that doesn’t mean they’ve translated into a good listening experience in this live...

Reviewed by David Patrick Stearns in issue: 12/2014

LULLY Atys

Based on a tale from Ovid, Quinault’s libretto for Atys (1676) was the first collaboration with Lully to eschew comic...

Reviewed by David Vickers in issue: 12/2014

LULLY Amadis

Quinault’s libretto for Amadis de Gaule (1684) adapts a medieval Spanish tale of a hero who loves the British princess...

Reviewed by David Vickers in issue: 12/2014

HASSE Marc' Antonio e Cleopatra

Gender-bending, sometimes with an element of titillation, was a commonplace of Baroque opera. When Johann Adolf Hasse’s serenata was staged...

Reviewed by Richard Wigmore in issue: 12/2014

HARTMANN Simplicius Simplicissimus

The four recordings of Hartmann’s second opera between them present three different versions of the work. This latest issue uses...

Reviewed by Guy Rickards in issue: 12/2014

HANDEL Faramondo

Nowadays it seems difficult to comprehend why Faramondo (1738) was a marginally stronger success than its close contemporary flop Serse....

Reviewed by David Vickers in issue: 12/2014

GLASS The Lost

It isn’t every day that an opera house opens its doors for the first time. Hardly surprising, then, that the...

Reviewed by Pwyll ap Siôn in issue:

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