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TELEMANN Flavius Bertaridus, König der Longobarden

Most of Telemann’s operas for Hamburg’s Gänsemarkt theatre are lost. One of the few exceptions is Flavius Bertaridus (1729), which...

Reviewed by David Vickers in issue: 03/2013

HANDEL Giulio Cesare in Egitto

The vast discography of Giulio Cesare in Egitto (1724) is a proverbial mixed bag. The Bavarian State Opera’s 1994 production...

Reviewed by David Vickers in issue: 03/2013

DAUVERGNE Hercule mourant. La Venitienne

This year is the tercentenary of Antoine Dauvergne (1713-97). From 1744 Rameau’s pupil rose through the ranks of the Académie...

Reviewed by David Vickers in issue: 03/2013

CHERUBINI Médée

Cherubini’s masterpiece, performed in French and without the sprawling 1855 recitatives by Franz Lachner that have stymied modern performances for...

Reviewed by Mike Ashman in issue: 03/2013

BRITTEN Billy Budd

This is getting confusing: the Glyndebourne Festival DVD of Billy Budd (9/11) is now followed by a CD of the...

Reviewed by Richard Fairman in issue: 03/2013

BELLINI I Puritani

I Puritani was Bellini’s last opera, commissioned by the Théâtre Italien in Paris and performed with a star cast –...

Reviewed by Richard Lawrence in issue: 03/2013

ADAMS Nixon in China

Beware of hyperbole. Words such as ‘masterpiece’ are freely tossed about in the commentary surrounding the Metropolitan Opera debut of...

Reviewed by David Patrick Stearns in issue: 03/2013

Arias for Marietta Marcolini

‘Arias for Marietta Marcolini: Rossini’s first muse’, runs the rubric. In his delightful, romanticising Rossini biography, Stendhal even maintained that...

Reviewed by Richard Wigmore in issue: 01/2013

Nouveau Monde

With Christopher Columbus (yes, him from 1492) joining Harnoncourt, William Christie and Savall on the dedicatees’ list, Petibon’s new release...

Reviewed by Mike Ashman in issue: 01/2013

Opera Arias: Gluck, Haydn, Mozart

Marie-Nicole Lemieux, who was so impressive in Vivaldi’s Orlando furioso (6/12), here tackles an unhackneyed array of arias from the...

Reviewed by Richard Lawrence in issue: 01/2013

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