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...
When does an operetta become a musical? Paul Abrahám’s 1932 jazz operetta Ball at the Savoy – which opened in...
Reviewed by Richard Bratby in issue: 10/2021
It was nearly five years ago that Christian Gerhaher, arguably the finest and most fascinating lieder singer working today, revealed...
Reviewed by Hugo Shirley in issue: 10/2021
For those who love Rachmaninov’s Vespers (All-Night Vigil) and regularly reflect in wonderment at the depth and resonance of Russian...
Reviewed by Malcolm Riley in issue: 10/2021
Why do we listen to music? Is it about stimulation or oblivion, medication, meditation or a conversation? The answer seems...
Reviewed by Alexandra Coghlan in issue: 10/2021
Anita Rachvelishvili’s first album (5/18) was a feisty recording of powerhouse mezzo arias in turbocharged readings. Its successor is a...
Reviewed by Mark Pullinger in issue: 10/2021
Forty years ago we all thought that the leading composer around 1400 was Johannes Ciconia, with various people called Zacara...
Reviewed by David Fallows in issue: 10/2021
The Estonian Philharmonic Chamber Choir have already set down Schnittke’s massively challenging Psalms of Repentence (or, better, Penitential Verses –...
Reviewed by Ivan Moody in issue: 10/2021
For younger readers who have yet to discover him – and older readers for whom one of life’s essential pleasures...
Reviewed by Jeremy Nicholas in issue: 10/2021
Contemporary British composers have not shied away from setting the texts of the Requiem. Notable recent examples by David Bednall,...
Reviewed by Malcolm Riley in issue: 10/2021
The question here is not how these two new recordings of Schumann’s often heard and increasingly discussed song cycle Frauenliebe...
Reviewed by David Patrick Stearns in issue: 10/2021
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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