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Amy Yang: Resonance

On paper, the idea of Bach’s Fourth Partita and Schumann’s Davidsbündlertänze bookending the recorded premiere of Caroline Shaw’s 14-minute Gustave...

Reviewed by Jed Distler in issue: 02/2020

Maija Kovalevska: Majesty

The Latvian soprano Maija Kovalevska first came to prominence in 2006 when she won Plácido Domingo’s Operalia competition, which led...

Reviewed by Mark Pullinger in issue: 02/2020

Roberto Alagna: Caruso 1873

What’s this? Roberto Alagna singing Colline’s Coat Aria from La bohème? Has he followed other tenors in (mis)appropriating baritone and...

Reviewed by Mark Pullinger in issue: 02/2020

WEBER Der Freischütz (Janowski)

With a project as well realised as this, one reflects how Weber and Kind’s great 1821 work may still be...

Reviewed by Mike Ashman in issue: 02/2020

VERDI La Traviata (Manacorda)

Can it really be 25 years since the BBC ripped up the television schedules at short notice to broadcast the...

Reviewed by Mark Pullinger in issue: 02/2020

SMYTH Fête Galante LEHMANN The Happy Prince

I have a pet theory that certain composers do their finest work with their lightest touch – and if you’ve...

Reviewed by Richard Bratby in issue: 02/2020

MOZART Die Entführung aus dem Serail (Mehta)

This performance from 2017 is a re creation of the famous production first seen at the Salzburg Festival in 1965....

Reviewed by Richard Lawrence in issue: 02/2020

LULLY Phaéton (Dumestre)

Phaéton was the last of Philippe Quinault’s librettos for Lully to be based on Ovid’s Metamorphoses. After its premiere at...

Reviewed by Richard Lawrence in issue: 02/2020

GRÉTRY Raoul Barbe Bleue

Premiered in March 1789, months before the storming of the Bastille, Grétry’s take on the Bluebeard tale, as told by...

Reviewed by Richard Wigmore in issue: 02/2020

FALL Die Dollarprinzessin (Schirmer)

When Leo Fall’s Die Dollarprinzessin opened in Vienna in November 1907, one critic concluded that Fall ‘was almost too refined...

Reviewed by Richard Bratby in issue: 02/2020

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