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LEIGHTON Sacred Choral Works

Time to be honest about Kenneth Leighton. He loved Howells as much as the rest of us; but while Howells’s...

Reviewed by Andrew Mellor in issue: 01/2020

HENZE Das Floß der Medusa (The Raft of the Medusa)

This beautifully prepared recording issues the most compelling if belated of invitations to consider afresh a seminal work of the...

Reviewed by Peter Quantrill in issue: 01/2020

Handel Uncaged: Cantatas for Alto

Part recital and part musical detective drama, ‘Handel Uncaged’ is, ironically, entirely captivating. At its centre is a premiere Handel...

Reviewed by Alexandra Coghlan in issue: 01/2020

GESUALDO Second Book of Madrigals

The past few months have opened up a rich seam for Gesualdo enthusiasts, with an impressive new release from Exaudi...

Reviewed by Fabrice Fitch in issue: 01/2019

DVORÁK Stabat mater (version for soloists, choir and piano)

The timing given above is no misprint. Neither has Howard Arman made a Hervé Niquet-style dash through a score stained...

Reviewed by Peter Quantrill in issue: 01/2020

DOWLAND 'Whose heavenly touch'

When you think of the Argentinian soprano Mariana Flores you think of Monteverdi, Cavalli, Vivaldi, maybe even Frescobaldi. But Dowland?...

Reviewed by Alexandra Coghlan in issue: 01/2020

BRAHMS A German Requiem (1871 London Version. Lewis)

Contributions to the booklet from Katy Hamilton and the conductor Andrew Lewis make a persuasive case for this downsized, vernacular...

Reviewed by Peter Quantrill in issue: 01/2020

Sarah Bob: Nobody Move

Curated by Sarah Bob, the New Gallery Concert Series has been combining new music and visuals for the edification of...

Reviewed by Richard Whitehouse in issue: 01/2020

Lucy Parham: I, Clara

Clara Schumann knew a thing or two about multitasking. As the mother of eight children by her husband Robert, she...

Reviewed by Adrian Edwards in issue: 01/2020

Nelson Freire: Encores

The idea of a studio disc of encores is a little odd, given that the essence of the genre is...

Reviewed by Michelle Assay in issue: 01/2020

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