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ABRAHAMSEN Schnee (Storgårds)

There isn’t much in Hans Abrahamsen’s recent output that doesn’t owe its existence, in some form or other, to his...

Reviewed by Andrew Mellor in issue: 04/2022

JS BACH St Matthew Passion (Pichon)

Having recently tasted Pygmalion’s ravishing performances of two Bach cantatas for solo soprano with Sabine Devieilhe (Erato, 12/21), I sensed...

Reviewed by Jonathan Freeman-Attwood in issue: 04/2022

Vintage Americana

I suspect that the six works featured here would be unlikely items in most selections of vintage Americana. All credit...

Reviewed by Guy Rickards in issue: 03/2022

Early Moderns: The (Very) First Viennese School

In their extensive booklet note as well as in the varied programme they’ve assembled, violinists Robert Mealy and Julie Andrijeski...

Reviewed by Andrew Farach-Colton in issue: 03/2022

WALKER Five Piano Sonatas (Steven Beck)

The five piano sonatas of George Walker (1922-2018) reveal the trajectory of his creative evolution, as well as the kind...

Reviewed by Jed Distler in issue: 03/2022

PRICE 'Uncovered, Vol 2'

Where has Florence Price been all our lives? Waiting for the world to open its ears and consciences to composers...

Reviewed by Donald Rosenberg in issue: 03/2022

GRIEG Violin Sonatas (Kaleb Chesnic)

Flautists will, I think, be rather excited by this disc. Transcriptions for flute of major works for violin is nothing...

Reviewed by Guy Rickards in issue: 03/2022

Ian Bostridge: Tormento d'amore

There are three stories being told here. The first is that, contrary to what people may think, the tenor was...

Reviewed by Lindsay Kemp in issue: 03/2022

STRADELLA Amare e fingere (De Carlo)

Amare e fingere was staged in Siena in May or June 1676 but might have been first performed in Rome...

Reviewed in issue 03/2022

ROSSINI L’occasione fa il ladro (Fogliani)

This is the second staging by the Rossini in Wildbad Festival of L’occasione fa il ladro, the richly freighted one-act...

Reviewed by Richard Osborne in issue: 03/2022

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