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...
‘My heart cannot change’, sings the heroine of Gounod’s 1864 opera. Put baldly, that is the fixed premise of this...
Reviewed by Neil Fisher in issue: 09/2021
It always seems to be two steps forward, one step back for Porgy and Bess. For those present at the...
Reviewed by David Gutman in issue: 09/2021
Thirty years after its premiere at the Metropolitan Opera, The Ghosts of Versailles has come home in more than a...
Reviewed by Peter Quantrill in issue: 09/2021
The vagaries forced upon recording and performing schedules by the coronavirus pandemic have sometimes produced some happy accidents. In the...
Reviewed by Mike Ashman in issue: 09/2021
Czech soprano Kateřina KněŽíková is clearly a singer to watch. She sang the title-role in Katya Kabanova at Glyndebourne earlier...
Reviewed by Hugo Shirley in issue: 09/2021
Much like the new Gothic Voices album (see page 66), this rolls back the years in more ways than one....
Reviewed by Fabrice Fitch in issue: 09/2021
Flanders and Italy – two nations bound tightly together in music, as Adrien Mabire and his Mercenaires argue in this...
Reviewed by Alexandra Coghlan in issue: 09/2021
This remarkable album returns Gothic Voices fully to the form of their Christopher Page years. That is not intended as...
Reviewed by Fabrice Fitch in issue: 09/2021
So what happened in Brabant in 1653 then? The pertinent answer here is that Carmelites seeking refuge after the banning...
Reviewed by Lindsay Kemp in issue: 09/2021
In the vast Schubert lieder discography, one looks to Fritz Wunderlich for mystique, Dietrich Fischer-Dieskau for authority and Ian Bostridge...
Reviewed by David Patrick Stearns in issue: 09/2021
Neither a biography of his early years, nor a close analysis of the pieces that blew up post-war...
Morrison’s Tchaikovsky is a rationalist who rather enjoys himself and aspires to a Mozartian poise...
This Senofsky double pack is revelatory, especially Brahms’s Third Sonata, a thrilling account with...
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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