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C(H)OEURS: Choirs/Hearts: A Contemporary Ballet

The punning French title (both ‘hearts’ and ‘chorus’) introduces an abstract dance piece about the voice of The People in...

Reviewed by Mike Ashman in issue: 05/2013

Jonas Kaufmann: Wagner

Turn immediately to the Tannhäuser excerpt. Mighty tents are already pitched on this summit of early Wagnerian arioso – Melchior...

Reviewed by Mike Ashman in issue: 05/2013

WAGNER Die Walküre

This new set, the first of a planned Ring that is being assembled from live concert performances, boasts a promising...

Reviewed by Mike Ashman in issue: 05/2013

MOZART Lucio Silla

Premiered in Milan on December 26, 1772, Mozart’s second theatrical triumph is opera at its most imposingly seria. As one...

Reviewed by Richard Wigmore in issue: 05/2013

LALO Fiesque

Admirers of Lalo’s Le roi d’Ys must sometimes wonder what happened to Fiesque, his first and only other completed opera....

Reviewed by John Warrack in issue: 05/2013

JANÁČEK Jenufa

Few familiar names are found among the singers and creative team that brought about this distinctive, modern-dress Jen≤fa at Malmö...

Reviewed by David Patrick Stearns in issue: 05/2013

GLUCK Iphigénie en Aulide. Iphigénie en Tauride

Composed for the Paris Opéra in 1774 and 1779 respectively, Gluck’s Iphigénie operas make a good pair. Practical considerations mean...

Reviewed by Richard Lawrence in issue: 05/2013

BENJAMIN Written On Skin

‘Strange’ is a word that recurs in the notes provided by George Benjamin and Martin Crimp for this recording of...

Reviewed by Arnold Whittall in issue: 05/2013

Romantic Arias

The baritone and his delightfully Goethean-named producer Wilhelm Meister stick strictly to the historical definition of the disc’s title, ‘Romantic...

Reviewed by Mike Ashman in issue: 03/2013

VIVALDI Orlando Furioso, RV728

In autumn 1713 Vivaldi took over management of opera at Venice’s Teatro S Angelo and put on a production of...

Reviewed by David Vickers in issue: 03/2013

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