Book review - Pierre Boulez: Organised Delirium (by Caroline Potter)
Neither a biography of his early years, nor a close analysis of the pieces that blew up post-war...
The archetypal German Romantic opera, where folkish charm collides with sinister supernatural forces, has done well on CD. In the...
Reviewed by Richard Wigmore in issue: 04/2022
First performed at the Opéra-Comique in 1893, Phryné comes immediately after Saint-Saëns’s big stage works of the late 1870s and...
Reviewed by Tim Ashley in issue: 04/2022
Vilified and banned though it may have been initially, Strindberg’s Miss Julie (1888) has more than made up any lost...
Reviewed by Guy Rickards in issue: 04/2022
What do you want from Les contes d’Hoffmann? Enchantment or insight? Delirious high-Romantic fantasy or probing Jungian psychodrama? False dichotomies,...
Reviewed by Richard Bratby in issue: 04/2022
Not since Dmitri Tcherniakov’s production of Don Giovanni (BelAir, A/13) have I seen such a wrong-headed account of a Mozart...
Reviewed by Richard Lawrence in issue: 04/2022
‘Her person was coarse and masculine.’ ‘She was short and squat, with a doughy cross face.’ ‘She had so little...
Reviewed by Richard Wigmore in issue: 04/2022
The first opera to be premiered at Barcelona’s Liceu for over a decade, Benet Casablancas’s L’enigma di Lea apparently aroused...
Reviewed by Tim Ashley in issue: 04/2022
The opening moments of this collection land you in a collision of disparate stimuli. The opening bars of the first...
Reviewed by David Patrick Stearns in issue: 04/2022
Time and again, one’s ears search for something subversive, some sort of coded protest in the music of these often-forgotten...
Reviewed by David Patrick Stearns in issue: 04/2022
Graham Ross isn’t the first musician to have got Iceland under his skin – a process that, for many of...
Reviewed by Andrew Mellor in issue: 04/2022
Neither a biography of his early years, nor a close analysis of the pieces that blew up post-war...
This Senofsky double pack is revelatory, especially Brahms’s Third Sonata, a thrilling account with...
Morrison’s Tchaikovsky is a rationalist who rather enjoys himself and aspires to a Mozartian poise...
These are engaging, spontaneous-sounding performances that if widely heard could well spark off a...
Richard Bratby charts the relationship between the conductor and his Italian orchestra
‘Mengelberg’s performances – like Furtwängler’s – were for the most part products of careful...
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