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JS BACH Cantatas Nos 186, 168, 134 & 54

Followers of this, the only remaining in-progress cantata series, will recall Sigiswald Kuijken’s strategy of selecting a single cantata for...

Reviewed by Jonathan Freeman-Attwood in issue: 02/2014

ADAMS El Niño

Chosen as the climax of last year’s The Rest is Noise festival of 20th-century music on London’s South Bank, John...

Reviewed by Mike Ashman in issue: 02/2014

RAMEAU Le Grand Theatre de l'Amour: Opera Arias

This is an anthology with a difference. It consists of soprano arias, a duet and a trio, and a few...

Reviewed by Richard Lawrence in issue: 02/2014

Che Puro Ciel: The Rise of Classical Opera

The American countertenor Bejun Mehta’s thoughtfully chosen programme takes as its theme the new aesthetic of the 1750s and ’60s...

Reviewed by Richard Wigmore in issue: 02/2014

Simone Kermes: Bel Canto

This kind of internal crossover of repertoire started with conductors – I’m a Baroque specialist but, hey, why don’t I...

Reviewed by Mike Ashman in issue: 02/2014

WAGNER Parsifal

What is sung and played is Wagner’s Parsifal. What is staged is something else, based on the view (as the...

Reviewed by Arnold Whittall in issue: 02/2014

STRAUSS Die Frau ohne Schatten

This Die Frau differs from some earlier opera recordings from the Mariinsky label in not calling upon the services of...

Reviewed in issue 02/2014

HEGGIE Moby Dick

An operatic Moby-Dick seems impossible. Scenic demands aside, how could Herman Melville’s anecdotal narrative about ships and whales have operatic...

Reviewed by David Patrick Stearns in issue: 02/2014

HANDEL Orlando

This recording of Orlando (1733) was made after a mostly Canadian production at the Vancouver Early Music Festival. Alexander Weimann’s...

Reviewed by David Vickers in issue: 02/2014

BRITTEN The Rape of Lucretia. Gloriana

These DVDs illustrate operatic reversals of fortune in complementary ways that seem almost too neat to be coincidental. The Rape...

Reviewed by David Patrick Stearns in issue: 02/2014

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