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Review of ELISHA 'Anthelion'

ELISHA 'Anthelion'

One of the greatest joys of being a reviewer is encountering an unfamiliar compositional voice. Adrienne Elisha (1958-2017) was a...

Reviewed by Guy Rickards in issue: 04/2022

Review of AYLWARD Celestial Forms and Stories

AYLWARD Celestial Forms and Stories

The title of John Aylward’s five-movement suite, performed on a New Focus disc by members of Klangforum Wien, comes from...

Reviewed by Donald Rosenberg in issue: 04/2022

Review of Nadine Sierra: Made for Opera

Nadine Sierra: Made for Opera

In the booklet note for her second solo album, Nadine Sierra waxes lyrical about how she was formed as a...

Reviewed by Tim Ashley in issue: 04/2022

Review of WEBER Der Freischütz (Netopil)

WEBER Der Freischütz (Netopil)

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

Review of SAINT-SAËNS Phryné (Niquet)

SAINT-SAËNS Phryné (Niquet)

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

Review of PHIBBS Juliana (Vass)

PHIBBS Juliana (Vass)

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

Review of OFFENBACH Les Contes d'Hoffman (Nagano)

OFFENBACH Les Contes d'Hoffman (Nagano)

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

Review of MOZART Idomeneo (Netopil)

MOZART Idomeneo (Netopil)

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

Review of Emőke Baráth: Dualità - Handel Opera Arias

Emőke Baráth: Dualità - Handel Opera Arias

‘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

Review of CASABLANCAS L'Enigma Di Lea (Pons)

CASABLANCAS L'Enigma Di Lea (Pons)

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


 

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