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MAHLER Symphony No 5 (Harding)

Bells up; with the greatest vehemence; hurriedly, ie carelessly throughout. Mahler’s Fifth is peppered with such imprecations, as well as...

Reviewed by Peter Quantrill in issue: 11/2018

LANGGAARD Symphonies 2 & 6 (Oramo)

The follow-up to their impressive showing in Per Nørgård’s First and Eighth Symphonies (8/14) finds Sakari Oramo and the Vienna...

Reviewed by Richard Whitehouse in issue: 11/2018

JS BACH Solo Violin Sonatas Nos 1 & 2 (Hahn)

For all the appreciable virtues offered by recent contenders in the Bach Sonatas and Partitas field, I cannot think of...

Reviewed by Rob Cowan in issue: 11/2018

Dmitri Hvorostovsky: Live recordings 1994-2016

The late Dmitri Hvorostovsky sang 10 roles at the Wiener Staatsoper. Nine of them are represented on this Orfeo disc...

Reviewed by Mark Pullinger in issue: 11/2018

WAGNER Götterdämmerung (van Zweden)

At the end of the day – which we have now reached for this live Hong Kong concert Ring cycle...

Reviewed by Mike Ashman in issue: 11/2018

WAGNER Der Fliegende Holländer (Sawallisch)

Clearly one of Wieland Wagner’s great New Bayreuth nights. Orfeo is to be congratulated on putting it out despite the...

Reviewed by Mike Ashman in issue: 11/2018

SALIERI Les Horaces (Rousset)

In response to the first performance of Salieri’s Les Horaces (Versailles, 1786), an eyewitness reported ‘there cannot be a more...

Reviewed by David Vickers in issue: 11/2018

PUCCINI La Bohème (Pappano)

The retirement of John Copley’s 1974 production of La bohème was met with something approaching national mourning by many opera-goers,...

Reviewed by Mark Pullinger in issue: 11/2018

MUSGRAVE Mary Queen of Scots

This new Lyrita reissue is the third incarnation of Virginia Opera’s live 1978 recording of Thea Musgrave’s fast-moving, gripping three-act...

Reviewed by Guy Rickards in issue: 11/2018

MASSENET Cendrillon (Bollon)

On Massenet’s Cinderella – late (1896) and dramaturgically unconventional – the librettist and composer Henri Cain worked rather like Verdi...

Reviewed by Mike Ashman in issue: 10/2018

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