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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

BRITTEN The Turn of the Screw

In this 2011 film of a revival of Jonathan Kent’s Glyndebourne staging – a kind of companion sequel to the...

Reviewed by Mike Ashman in issue: 02/2013

JC BACH Zanaida. Amadis de Gaule

Two operas in one month are a turn-up indeed for admirers of the most worldly of the Bach clan. Premiered...

Reviewed by Richard Wigmore in issue: 02/2013

Opera arias of the Serenissima

Il Pomo d’Oro only formed last year but the band already have a prolific recording profile, with several Naïve Vivaldi...

Reviewed by David Vickers in issue: 04/2013

WAGNER Tannhäuser

In keeping with his approach to earlier issues in this complete mature Wagner-in-concert series, Marek Janowski opts for the slimmer,...

Reviewed by Mike Ashman in issue: 04/2013

STRAUSS Elektra

If there’s such a thing as an anti-Solti Elektra, this is it. In contrast to his hyper articulate Decca set...

Reviewed by David Patrick Stearns in issue: 04/2013

KREUTZER La Mort D'Abel

The dedicatee of Beethoven’s violin sonata (Op 47), the French virtuoso Rodolphe Kreutzer (1766-1831) seems not to have ever played...

Reviewed by David Vickers in issue: 04/2013

GOUNOD Romeo and Juliet

The publicity told us last year that ‘the award-winning tenor and international “cross-over” superstar returns to his first love –...

Reviewed by Mike Ashman in issue: 04/2013

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