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Elsa Dreisig: Miroir(s)

Now here’s a striking debut. The young Franco-Danish soprano Elsa Dreisig consolidated her 2016 Operalia win by becoming a company...

Reviewed by Mark Pullinger in issue: 12/2018

Javier Camarena: Contrabandista

Things bode well when you shout ‘Bravo!’ at the hi fi speakers at the end of the first track. Javier...

Reviewed by Mark Pullinger in issue: 11/2018

Julien Behr: Confidence

For his first solo album, Julien Behr explores repertory associated with a voice type known in 19th-century France as the...

Reviewed by Tim Ashley in issue: 12/2018

VIVALDI Orlando Furioso (Fasolis)

If you like your Baroque opera understated or postmodern (or uncut) then Fabio Ceresa’s Orlando furioso is not for you....

Reviewed by Alexandra Coghlan in issue: 12/2018

VINCI Didone Abbandonata (Katschner)

‘GF Händel’ proclaims the CD cover, appending ‘Leonardo Vinci’ in smaller type below. Shrewd marketing, perhaps, but a touch disingenuous....

Reviewed by Richard Wigmore in issue: 12/2018

VERDI Giovanna d’Arco (Chailly; Tebar)

Giovanna d’Arco stems from Verdi’s ‘galley years’. Composed for La Scala in 1845, it’s full of great melodies even if...

Reviewed by Mark Pullinger in issue: 12/2018

SAINT-SAËNS Ascanio (Tourniaire)

Like so many works written for the Paris Opéra, where it was first performed in 1890, Ascanio never reached the...

Reviewed by Tim Ashley in issue: 12/2018

PUCCINI Turandot (Noseda)

Turandot’s riddles are getting no easier to decipher in the 21st century. Now it’s not enough to see Puccini’s last,...

Reviewed by Neil Fisher in issue: 12/2018

PUCCINI Madama Butterfly (Pappano)

This 2017 revival was the first time Antonio Pappano had conducted Moshe Leiser and Patrice Caurier’s Royal Opera production of...

Reviewed by Mark Pullinger in issue: 12/2018

MASSENET La Navarraise (Veronesi)

'As for the work itself’, wrote George Bernard Shaw for The World on the occasion of the opera’s Covent Garden...

Reviewed by Mike Ashman in issue: 12/2018

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