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Anna Netrebko: Amata dalle tenebre

Anna Netrebko’s new recital is about love and emotional darkness, heroines in extremis and confrontations with mortality, which takes her...

Reviewed by Tim Ashley in issue: 11/2021

George Gagnidze: Opera Arias

Audiences in the UK will have had limited opportunities to see George Gagnidze perform. There was a minor role in...

Reviewed by Mark Pullinger in issue: 11/2021

J STRAUSS II Waldmeister (Salvi)

It’s always nice to put an operetta to an overture. Johann Strauss’s Waldmeister (1895) was a moderate success in its...

Reviewed by Richard Bratby in issue: 11/2021

SAINT-SAËNS La princesse jaune (Hussain)

Premiered at the Opéra-Comique 1872, in a double bill with Bizet’s Djamileh, La princesse jaune was the first of Saint-Saëns’s...

Reviewed by Tim Ashley in issue: 11/2021

JOMMELLI Il Vologeso (Page)

Il Vologeso was composed towards the end of Jommelli’s time as Ober-Kapellmeister at the court of the Duke of Württemberg....

Reviewed by Richard Lawrence in issue: 11/2021

HOFMANNSTHAL Jedermann (Ensemble 013)

The irony would not have been lost on Hugo von Hofmannsthal, inveterate snob and Anglophile, that his Freudian updating of...

Reviewed by Peter Quantrill in issue: 11/2021

GLASS Akhnaten (Kamensek)

Ancient Egyptian pharaohs, priests, ceremony, death and … juggling? Is this a Regietheater staging of Aida set in a circus?...

Reviewed by Mark Pullinger in issue: 11/2021

BERNSTEIN Candide (Alsop)

Absence doesn’t make the heart grow any fonder of this performance. I saw it live in 2018 and it was...

Reviewed by Edward Seckerson in issue: 11/2021

BELLINI I Puritani (Orbelian)

As Delos’s gushing booklet note makes clear, this new release of Bellini’s swansong is focused around its two American leads,...

Reviewed by Hugo Shirley in issue: 11/2021

Voice of Nature: The Anthropocene

This might be the most serene apocalypse you’ll hear. In ‘Voice of Nature: The Anthropocene’, the soprano Renée Fleming reflects...

Reviewed by Neil Fisher in issue: 11/2021

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