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Elisabeth Remy Johnson: Quest

Inspired by her quest to include more music by women in her performances, Elisabeth Remy Johnson’s recital serves as a...

Reviewed by Laurence Vittes in issue: 09/2021

Last Song (Una Sveinbjarnardottir)

The ‘Last Song before the News’, reflected in composer-violinist Una Sveinbjarnardóttir’s eponymous final track, is an Icelandic tradition, the playing...

Reviewed by Guy Rickards in issue: 09/2021

KYR 'In Praise of Music'

The Antioch Chamber Ensemble recorded these choral works by Robert Kyr in November 2018 but the texts – many by...

Reviewed by Donald Rosenberg in issue: 09/2021

GOTTSCH Princess Yurievskaya (Alfonso)

The urge to compose is irresistible for many who are destined to make their livings in other vocations; among the...

Reviewed by Donald Rosenberg in issue: 09/2021

JS BACH 'Metamorphosis' Cello Suites Nos 1-3 (Zachary Carrettín)

Having played Bach’s Solo Cello Suites on a cello da spalla, an electric Baroque violin with ‘unlimited reverb possibilities’ and...

Reviewed by Laurence Vittes in issue: 09/2021

WAGNER Das Rheingold (Baleff)

In the run-up to the Wagner bicentenary in 2013, Plamen Kartaloff, director of the Sofia Opera, began to nurture a...

Reviewed by Peter Quantrill in issue: 09/2021

STRAUSS Elektra (Welser-Möst)

Marking the centenary of its founding by Strauss, Hofmannsthal and Max Reinhardt, last year’s Salzburg Festival went ahead with a...

Reviewed by Tim Ashley in issue: 09/2021

RAMEAU Dardanus - Tragedie Lyrique (Vashegyi)

Critics scorned the first production of Dardanus in 1739 as dramatically incoherent and reliant on absurd supernatural interventions. This probably...

Reviewed by David Vickers in issue: 09/2021

MONTEVERDI L'Orfeo – a tale in music (Malmberg)

On the day before the first performance of Monteverdi’s Orfeo on February 24, 1607, in the ducal palace in Mantua,...

Reviewed by Iain Fenlon in issue: 09/2021

GOUNOD Mireille (Minkowski)

‘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

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