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KALABIS; KRÁSA; MARTINŮ Harpsichord Concertos (Mahan Esfahani)

I may be genetically conditioned to adore this repertoire, but this new album from Mahan Esfahani is an unalloyed joy...

Reviewed by Guy Rickards in issue: 02/2023

Plácido Domingo & Jennifer Rowley: The Versailles Gala

>It is well over a decade now since Plácido Domingo controversially transitioned from tenor to baritone roles, a repertory he...

Reviewed by Tim Ashley in issue: 02/2023

WAGNER Der Ring des Nibelungen (Runnicles)

‘Close your eyes’ is the most tired and depressing piece of opera-going advice, but blind listening to the Deutsche Oper’s...

Reviewed by Peter Quantrill in issue: 02/2023

STRAUSS Capriccio (Thielemann)

That Strauss could write Capriccio – his and Clemens Krauss’s Konversationsstück on and about the nature of opera and artistic...

Reviewed by Hugo Shirley in issue: 02/2023

POULENC La voix humaine. Sinfonietta (Véronique Gens)

Véronique Gens has given us surprisingly little Poulenc on record over the years, though she included Banalités and Les chemins...

Reviewed by Tim Ashley in issue: 02/2023

Molieri: Arias by Mozart and Salieri (Adam Plachetka)

Who was Molieri? No, not another composer unearthed by musicologists for rediscovery but a mash-up of the names of Wolfgang...

Reviewed by Mark Pullinger in issue: 02/2023

MACFARREN The Soldier's Legacy

Here’s a question for trivia fans: romantic operas set in the English Midlands? Donizetti’s Il Castello di Kenilworth, possibly, or...

Reviewed by Richard Bratby in issue: 02/2023

DESSAU Lanzelot (Beykirch)

Cultural history written by the victors can overstate the divergence of communism and capitalism, complicity and dissent, socialist realism and...

Reviewed by David Gutman in issue: 02/2023

'The Splendour of Florence With a Burgundian Resonance’

Fifteenth-century song recitals are rare enough for this recording to be welcomed with open arms, particularly as a few of...

Reviewed by Fabrice Fitch in issue: 02/2023

SOMMER Orchestral Songs

‘Just let me jump in the saddle!’ A march rhythm, a jaunty swagger from the orchestra and – swirling that...

Reviewed by Richard Bratby in issue: 02/2023

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