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LOCKE Psyche (Daucé)

Commissioned by the actor-manager Thomas Betterton, Psyche opened at the Dorset Garden Theatre in London on February 27, 1675, in...

Reviewed by Richard Lawrence in issue: AW22

JANÁCEK Jenůfa (Nánási)

As readers of these pages will recall, there has recently been quite a steady trickle of new Jenůfas including Damiano...

Reviewed by Mike Ashman in issue: AW22

The Mysterious Motet Book, 1539

Points to Patrick Allies and his vocal ensemble Siglo de Oro for one of the most enticing album titles of...

Reviewed by Alexandra Coghlan in issue: AW22

Du Bellay: Heureux qui, comme Ulysse

Settings of Joachim Du Bellay’s poetry, interspersed with recitations by the ‘slam’ poet Kwal and accompanied by instrumental improvisations, make...

Reviewed by Edward Breen in issue: AW22

Dark Velvet: An Autobiography in Music

Music often means more when shaped by personal experience, as this album of compositions for solo and duo combinations performed...

Reviewed by Pwyll ap Siôn in issue: AW22

WOLF Orchesterlieder. Penthesilea

Hugo Wolf’s songs in their original piano versions are marvels of concision and compositional precision, but, as CPO’s long and...

Reviewed by Hugo Shirley in issue: AW22

PEDRO I OF BRAZIL Te Deum. Credo

Like many monarchs, King Pedro I of Brazil (1798-1834) received a fine musical education, in his case from Marcos Portugal...

Reviewed by Ivan Moody in issue: AW22

LUSITANO Motets

This will be a revelation to many. Vicente Lusitano’s name is familiar to specialists of the Renaissance as a key...

Reviewed by Fabrice Fitch in issue: AW22

KRIGUL Liquid Turns

Hard on the heels of two orchestral pieces performed by the Estonian Festival Orchestra (Alpha, 9/22) – the first review...

Reviewed by Guy Rickards in issue: AW22

HAYDN Symphony 103. Theresienmesse

Harry Christophers continues his exploration of Haydn’s late music with a pairing of the penultimate symphony and antepenultimate Mass. The...

Reviewed by David Threasher in issue: AW22

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