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JS BACH Goldberg Variations

For his second Nonesuch project, Jeremy Denk follows in the footsteps of hundreds of pianists before him who have essayed...

Reviewed by Jed Distler in issue: 11/2013

VIVALDI Catone in Utica

Ciccolini revives Vivaldi’s 1737 opera with reconstructed Act 1...

Reviewed by David Vickers in issue: 11/2013

Arias for Farinelli

Philippe Jaroussky’s conceptual recital unveils Porpora’s music for his pupil Farinelli. Frédéric Delaméa provides a fascinating essay about the overlapping...

Reviewed by David Vickers in issue: 11/2013

WEBER Der Freischütz

This whole idea falls on the fundamental misapprehension that a stage work is some kind of imperfect shorthand form just...

Reviewed by Mike Ashman in issue: 11/2013

WAGNER Rienzi

‘Only the very wise can so clearly perceive the very obvious’ was one thought when the 81 year-old stage director...

Reviewed by Mike Ashman in issue: 11/2013

WAGNER Das Rheingold

Like the first instalment of the Mariinsky Ring (Die Walküre, 5/13), this recording of Das Rheingold is the result of...

Reviewed by Arnold Whittall in issue: 11/2013

RAVEL L’Enfant et les Sortilèges. l’Heure Espagnole

L’heure espagnole was premiered at the Opéra-Comique in 1911, coupled with the first Parisian production of Massenet’s Thérèse. L’enfant et...

Reviewed by Richard Lawrence in issue: 11/2013

PUCCINI La Fanciulla del West

They have a good reason for mounting a new production of La fanciulla del West at the Royal Swedish Opera,...

Reviewed by Richard Fairman in issue: 11/2013

NONO Intolleranza

In April 1961 Venice’s august Fenice opera house witnessed the explosive premiere of Luigi Nono’s ‘azione scenica’ Intolleranza 1960. What...

Reviewed by Arnold Whittall in issue: 11/2013

MOZART Così fan tutte

This is a follow-up to the Don Giovanni conducted by Yannick Nézet-Séguin that I welcomed recently (DG, 12/12). Mojca Erdmann...

Reviewed by Richard Lawrence in issue: 11/2013

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