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ROSSINI Eduardo e Cristina (Gelmetti)

Eduardo e Cristina is the operatic pastiche Rossini cobbled together for Venice’s Teatro San Benedetto in the spring of 1819....

Reviewed by Richard Osborne in issue: 10/2019

RIHM Jakob Lenz (Ollu)

‘I can’t bear it any more’, cries the troubled protagonist of Wolfgang Rihm’s chamber opera from 1979, and we’re barely...

Reviewed by Peter Quantrill in issue: 10/2019

PUCCINI Madama Butterfly (Wellber)

Forget the cherry blossom and other japonaiserie, Puccini’s Madama Butterfly at Glyndebourne focuses on the seedier side of the story...

Reviewed by Mark Pullinger in issue: 10/2019

OFFENBACH La Périchole (Minkowski)

If you wanted proof of the adage that whereas English operetta is all about class, French operetta is all about...

Reviewed by Richard Bratby in issue: 10/2019

MONTEVERDI L’incoronazione di Poppea (Christie)

William Christie has conducted several productions of Poppea, including a staging by Pier Luigi Pizzi filmed in Madrid in 2010...

Reviewed by David Vickers in issue: 10/2019

MASCAGNI Cavalleria Rusticana (Galli)

It’s been a good few years for Cav on film, presented alongside Pag on fine, thought-provoking DVDs from the Royal...

Reviewed by Hugo Shirley in issue: 10/2019

GIBSON Violet Fire (Rossi)

His name may not be the first to spring to mind when discussing American minimalist music, but Jon Gibson has...

Reviewed by Pwyll ap Siôn in issue: 10/2019

BARTÓK Duke Bluebeard's Castle (Gardner)

Both John Relyea and Michelle DeYoung have recorded these roles before – both, as it happens, with Esa-Pekka Salonen conducting....

Reviewed by Andrew Farach-Colton in issue: 10/2019

Messe du Roi Soleil

This is an imaginary confection of a Mass for the Sun King. Music within worship at the court of Louis...

Reviewed by David Vickers in issue: 10/2019

The Last Rose of Summer: Folksongs from the British Isles (The Queen's Six)

The King’s Singers cast a long shadow, and it looms particularly dark over this latest release by The Queen’s Six....

Reviewed by Alexandra Coghlan in issue: 10/2019

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