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WAGNER Parsifal

In the first scenes of Acts 1 and 3, Janowski – like Rattle in 2001 at Covent Garden and Hartmut...

Reviewed by Mike Ashman in issue: 10/2012

WAGNER Lohengrin

This is a rather special Lohengrin. Even if you dislike what you see, what you hear is imposing evidence of...

Reviewed by Arnold Whittall in issue: 10/2012

VINCI La Partenope

Stampiglia’s libretto Partenope was first set to music in 1699 for Naples; the title-heroine was named after the siren founder...

Reviewed by David Vickers in issue: 10/2012

VERDI Falstaff

Those brought up on the 1950 RCA Toscanini broadcast of this opera (11/59) often have – pace that set’s harsh...

Reviewed by Mike Ashman in issue: 10/2012

STRAUSS Elektra

If there’s a lesson to be had from these first and most recent recordings of Elektra, made 66 years apart,...

Reviewed by David Patrick Stearns in issue: 10/2012

SHOSTAKOVICH Prologue to Orango & Symphony No 4

Armed and dangerous – two casualties of Soviet-era censorship triumphantly reunited. The lost Prologue to the discarded three-act opera Orango...

Reviewed by Edward Seckerson in issue: 10/2012

PUCCINI Il Trittico

Because Puccini’s operatic triptych comes round so rarely in the opera house, it is important that there be a good...

Reviewed by Richard Fairman in issue: 10/2012

MERCADANTE Don Chisciotte alle nozze di Gamaccio

Saverio Mercadante was a highly successful composer in his day. He studied at the Naples Conservatory, where he caught the...

Reviewed by Richard Lawrence in issue: 10/2012

MAZZOCCHI La Catena D’Adone

Avowed devotees of early-17th-century Italian music might admire the work of Virgilio Mazzocchi – favoured by successive Barberini and Pamphili...

Reviewed by David Vickers in issue: 10/2012

MASSENET Méditations. Rêve infini

Here’s an extraordinary coincidence. We wait during the course of Massenet’s centenary year for a new release that presents some...

Reviewed by Richard Fairman in issue: 10/2012

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