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Oksana Volkova: Poison d'Amour

Mezzo-soprano Oksana Volkova’s recital of a dozen famous dramatic arias and one bloody obscurity gives full range to the Belarusian’s...

Reviewed by Laurence Vittes in issue: 08/2021

LANSKY Angles

A few years into the new century, Paul Lansky declared himself done with the brave new world of computer music...

Reviewed by Thomas May in issue: 08/2021

CERRONE The Arching Path

A sense of memory and resonance infuses this survey of Cristopher Cerrone’s recent sound work, much of it pulsing, static...

Reviewed by Laurence Vittes in issue: 08/2021

VERDI Falstaff (Barenboim)

‘An over the hill rebel of the 68er movement, who wants to live a life of carefree fun, but is...

Reviewed by Tim Ashley in issue: 08/2021

RIMSKY-KORSAKOV The Snow Maiden (Tatarnikov)

I would never pass up the chance to see a Dmitri Tcherniakov production. Highly controversial he may be, but his...

Reviewed by Marina Frolova-Walker in issue: 08/2021

MOZART Così fan tutte (Hengelbrock. Harnoncourt)

With staged opera thin on the ground over the past year due to schedules wiped out by the pandemic, companies...

Reviewed by Mark Pullinger in issue: 08/2021

MONIUSZKO Halka (Chmura)

Stanisław Moniuszko’s Halka has slowly been making inroads into the Western European consciousness, and well it might. Moniuszko (1819-72) was...

Reviewed by Ivan Moody in issue: 08/2021

HANDEL Rinaldo (Sardelli)

Pier Luigi Pizzi’s lavish production of Rinaldo was first staged at Reggio Emilia in 1985 and then put on at...

Reviewed by David Vickers in issue: 08/2021

BIZET Carmen (Gardiner)

It takes a certain amount of audacity to show the French how to stage Carmen, but that’s exactly what Adrian...

Reviewed by Mark Pullinger in issue: 08/2021

BEETHOVEN Leonore (Melles)

The 1805 (and even 1806) early versions of Beethoven’s only opera, Fidelio, were celebrated more on radio than in fully...

Reviewed by Mike Ashman in issue: 08/2021

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