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BEAMISH; JOLAS; NEUWIRTH Trumpet Concertos

Sally Beamish’s Trumpet Concerto (2003) was inspired by Calvino’s Invisible Cities. Of course you would choose a trumpet – over...

Reviewed by Andrew Mellor in issue: 02/2020

BARBER; TCHAIKOVSKY Violin Concertos (Johan Dalene)

Gramophone has already singled out this young man as One to Watch (8/19) and from the shaping of his solo...

Reviewed by Edward Seckerson in issue: 02/2020

Escales: French Orchestral Works

‘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

WAGNER Der fliegende Holländer (Minkowski)

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

VIVALDI Jupiter (Thomas Dunford)

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

VERDI Le trouvère (Abbado)

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

STEFANI The Supposed Miracle or Cracovians and Highlanders

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

ROSSINI Ricciardo e Zoraide (Sagripanti)

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

LULLY Isis (Rousset)

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

GOMES Lo schiavo (Neschling)

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

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