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Samuel Mariño: Care pupille

Since Alfred Deller was ‘discovered’ by Michael Tippett in the 1940s, countertenors have tended to get higher and louder. Many...

Reviewed by Richard Wigmore in issue: 08/2020

Sleeper's Prayer: Choral Music from North America

Whether or not you like the typical American choral sound, there’s no denying that it was made both by and...

Reviewed by Alexandra Coghlan in issue: 08/2020

Cantos sagrados

‘What did you say?’, the opening phrase of James MacMillan’s Cantos sagrados abruptly demands. But the answer here is in...

Reviewed by Alexandra Coghlan in issue: 08/2020

MAHLER Lieder eines Fahrenden Gesellen (Ilker Arcayürek)

The Istanbul-born, Vienna-based tenor Ilker Arcayürek’s Schubert-only debut was well received in these pages, earning an Editor’s Choice (Champs Hill,...

Reviewed by Hugo Shirley in issue: 08/2020

STROUSE Rags (London Cast Recording)

I have always been unreasonably fond of Charles Strouse and Stephen Schwartz’s Rags and would have given my right arm...

Reviewed by Edward Seckerson in issue: 08/2020

SOMERVELL A Shropshire Lad. Maud (Roderick Williams)

Hubert Parry thought very highly of his pupil Arthur Somervell (1863-1937), singling out for approval one of his early settings...

Reviewed by Andrew Achenbach in issue: 08/2020

SHAW Is a Rose. The Listeners (Live)

Having first made quite an impression back in 2013 with the strikingly original Partita for 8 Voices, followed last year...

Reviewed by Pwyll ap Siôn in issue: 08/2020

SCARLATTI Il martirio di Santa Teodosia

Reflecting contemporary iconography, female saints, virgins and martyrs were irresistible subjects for Italian Baroque composers. Alessandro Scarlatti wrote four such...

Reviewed by Richard Wigmore in issue: 08/2020

ROSSI La Lyra d’Orfeo. Arpa Davidica

This triple album comprises two projects recorded 14 years apart. A few relatively better-known arias and cantatas are interspersed among...

Reviewed by David Vickers in issue: 08/2020

PROKOFIEV Songs and Romances (Margarita Gritskova)

Prokofiev’s 72 songs are less well known than other corners of his repertoire, so any chance to increase familiarisation is...

Reviewed by Mark Pullinger in issue: 08/2020

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