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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:

BORODIN Prince Igor

Compared to the task of sorting a performing version of Borodin’s unfinished 1869 87 opera, choosing an edition of a...

Reviewed by Mike Ashman in issue: 12/2014

BIZET Carmen

There’s no shortage of good filmed versions of Carmen and one of the best, from Covent Garden, like this one,...

Reviewed by Hugo Shirley in issue: 12/2014

BERG Lulu

It’s only right that any performance of Lulu should revolve around its protagonist. But the way that the Canadian soprano...

Reviewed by Hugo Shirley in issue: 12/2014

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