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JS BACH St Mark Passion (Savall. Fischer)

There are two printed sources of the St Mark Passion libretto but its music is completely lost. Since the 1870s...

Reviewed by David Vickers in issue: 06/2019

WEBER Der Freischütz (Chung)

Weber’s Der Freischütz rarely gets productions outside of Germany and Austria, so Matthias Hartmann’s 2017 staging for La Scala, Milan,...

Reviewed by Mark Pullinger in issue: 06/2019

ROSSINI Le Comte Ory (Langrée)

Rossini’s sublimely amusing late comedy Le Comte Ory is very much a game of two halves, the second act being...

Reviewed by Richard Osborne in issue: 06/2019

RAMEAU Les Indes galantes (Vashegyi)

The first thing to say is that this is quite excellent, well up to the standard of the two previous...

Reviewed by Richard Lawrence in issue: 06/2019

PIAZZOLLA María de Buenos Aires (Sprenger)

Taped in concert in Bonn in 2016, this is the second recording of Piazzolla’s operita to appear in just over...

Reviewed by Tim Ashley in issue: 06/2019

KÁLMÁN Die Faschingsfee (Brandstätter)

At the height of the Munich carnival a penniless artist falls in love with a princess in disguise: 1917 must...

Reviewed by Richard Bratby in issue: 06/2019

JANÁCEK The Cunning Little Vixen (Debus)

Plenty of live performances, a handful of DVDs – but the long-term presence in the record catalogues of two much-admired...

Reviewed by Mike Ashman in issue: 06/2019

DONIZETTI L'Ange de Nisida (Elder)

There’s a little bit about the background to The Angel of Nisida (an island off Naples) in my article on...

Reviewed by Richard Lawrence in issue: 06/2019

BELLINI I Puritani (Benzi)

melodrama? Like poor Elvira, betrothed to an uninteresting Puritan but drawn to the riskier chap with the fancy hat and...

Reviewed by Neil Fisher in issue: 05/2019

AUBER La Sirène (Reiland)

For Naxos’s booklet to describe La Sirène (1844) as Auber’s 14th most popular work hardly raises expectations. But this little...

Reviewed by Hugo Shirley in issue: 06/2019

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