Book review - Pierre Boulez: Organised Delirium (by Caroline Potter)
Neither a biography of his early years, nor a close analysis of the pieces that blew up post-war...
‘Let’s hope it’s not a one-off’, wrote Richard Bratby at the close of his review (10/19) of John Wilson’s recording...
Reviewed by Tim Ashley in issue: 02/2020
If your production concept for Wagner’s ‘Romantic horror’ takes you down the reasonable route that this is a show in...
Reviewed by Mike Ashman in issue: 01/2020
For its mix of irrelevance and pretentiousness (‘music is the homeland of infinite possibility, freedom and sublimated time’), Alpha’s perfunctory...
Reviewed by Richard Wigmore in issue: 01/2020
This is Verdi’s Il trovatore and it is not Verdi’s Il trovatore. That’s not just because this is the 1857...
Reviewed by Neil Fisher in issue: 01/2020
The Supposed Miracle, or Cracovians and Highlanders (Cud mniemany, czyli Krakowiacy i Górale) was first performed Warsaw in 1794. Its...
Reviewed by Tim Ashley in issue: 01/2020
The undoubted draw of the Pesaro Rossini Opera Festival’s 2018 bicentenary revival of Ricciardo e Zoraide, the three-hour mock-heroic epic...
Reviewed by Richard Osborne in issue: 01/2020
Atys, the fourth tragédie en musique that Lully composed to a libretto by Philippe Quinault, was dubbed ‘the king’s opera’....
Reviewed by Richard Lawrence in issue: 01/2020
Born in Brazil, Antônio Carlos Gomes was a breakthrough composer – the first non-European to score an operatic success in...
Reviewed by Mark Pullinger in issue: 01/2020
Opera directors today seem to have difficulty in coping with Gluck’s retelling of the Orpheus legend, where – in both...
Reviewed by Richard Lawrence in issue: 01/2020
Robin Tritschler and Malcolm Martineau explore the early history of the song-cycle in this thoughtful recital, which flanks Beethoven’s An...
Reviewed by Tim Ashley in issue: 01/2020
Neither a biography of his early years, nor a close analysis of the pieces that blew up post-war...
This Senofsky double pack is revelatory, especially Brahms’s Third Sonata, a thrilling account with...
Morrison’s Tchaikovsky is a rationalist who rather enjoys himself and aspires to a Mozartian poise...
These are engaging, spontaneous-sounding performances that if widely heard could well spark off a...
Richard Bratby charts the relationship between the conductor and his Italian orchestra
‘Mengelberg’s performances – like Furtwängler’s – were for the most part products of careful...
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