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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

MONDONVILLE Titon Et l'Aurore (Christie)

Titon et l’Aurore was the third of Mondonville’s operas: first performed at the Paris Opéra in 1753, it was a...

Reviewed by Richard Lawrence in issue: 03/2022

HINDEMITH Sancta Susanna. Symphony 'Mathis der Maler'. Nusch-Nuschi-Tanze

The Mathis der Maler Symphony (1933 34) gets top billing here but it is the third recording of Hindemith’s still...

Reviewed by Guy Rickards in issue: 03/2022

HANDEL 'Enchantresses' (Sandrine Piau)

This is an excellent successor to the album that Sandrine Piau recorded with Christophe Rousset and Les Talens Lyriques 18...

Reviewed by Richard Lawrence in issue: 03/2022

HANDEL Semele (Alarcón)

Leonardo García Alarcón cuts Semele copiously yet reinstates two numbers that Handel rejected and never performed. Part 1 is given...

Reviewed by David Vickers in issue: 03/2022

DEBUSSY Pelléas et Mélisande (Roth)

As with London buses, so with French recordings of Pelléas et Mélisande. When welcoming Pierre Dumoussaud’s fine Alpha set from...

Reviewed by Mark Pullinger in issue: 03/2022

ABRAHAMSEN The Snow Queen (Meister)

Hans Abrahamsen was at work on let me tell you (3/16) when the Royal Danish Opera asked him for a...

Reviewed by Andrew Mellor in issue: 03/2022

Russian Roots

This generous, natural-sounding recording was made in Potton Hall last summer. Guest soloist Katharina Konradi is not easily pigeonholed. The...

Reviewed by David Gutman in issue: 03/2022

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