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HANDEL Rinaldo

Handel’s first London opera caused a sensation on its premiere in 1711, as much for its spectacular scenic effects as...

Reviewed by Richard Wigmore in issue: 01/2013

HANDEL Finest Arias for Base Voice

Basses in the 18th century rarely enjoyed star billing. Public adulation, with fees to match, was usually reserved for temperamental...

Reviewed by Richard Wigmore in issue: 01/2013

DEBUSSY Pelléas et Mélisande

Half-English and a colleague and friend of Debussy’s (a published correspondence exists), Désiré-Émile Ingelbrecht sculpts a rich, weighty but microscopically...

Reviewed by Mike Ashman in issue: 01/2013

BIZET Carmen

Glyndebourne’s summer 2002 Carmen was memorable for bringing Swedish mezzo Anne Sofie von Otter away from her habitual Oktavians and...

Reviewed by Mike Ashman in issue: 01/2013

WAGNER Tristan und Isolde

It is something of a miracle that a recording of Tristan und Isolde as accomplished as this one can emerge...

Reviewed by Arnold Whittall in issue: 02/2013

STRAUSS Der Rosenkavalier

If recorded another day, month or year, this Der Rosenkavalier – taken from the same 2009 Baden-Baden production that has...

Reviewed by David Patrick Stearns in issue: 02/2013

ROSSINI The Barber of Seville

This is a companion release to the warmly endearing performance of Verdi’s Falstaff (10/12) in which Carlo Maria Giulini led...

Reviewed by Richard Osborne in issue: 02/2013

PUCCINI La Bohème

Death is so frequently used as a dramatic device in Italian opera that the biggest shock a Puccini production can...

Reviewed by David Patrick Stearns in issue: 02/2013

HANDEL Rodelinda

Some historians now argue that the Dark Ages were not really all that dark and observe that cultural light did...

Reviewed by David Vickers in issue: 02/2013

HANDEL Deidamia

Deidamia, premiered at Lincoln’s Inn Fields on January 10, 1741, was Handel’s last opera. It didn’t come towards the end...

Reviewed by Richard Lawrence in issue: 02/2013

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