Book review - Pierre Boulez: Organised Delirium (by Caroline Potter)
Neither a biography of his early years, nor a close analysis of the pieces that blew up post-war...
Long before Keith Warner’s new production of Otello opened at the Royal Opera House, there was concern whether Jonas Kaufmann...
Reviewed by Hugo Shirley in issue: 08/2018
October 18, 1748, saw the signing of the Treaty of Aix-la-Chapelle, so ending the War of the Austrian Succession. This...
Reviewed by Richard Lawrence in issue: 08/2018
The first ‘panel’ of Puccini’s Trittico is arguably the closest that the composer came to verismo. It’s concise, unredemptive and...
Reviewed by Hugo Shirley in issue: 08/2018
It’s not even six months since I welcomed Marshall Pynkoski’s production of Lucio Silla from Milan. Now comes another DVD/Blu...
Reviewed by Hugo Shirley in issue: 08/2018
There may not be as many showstoppers here as on Christopher Purves’s first volume of ‘Handel’s Finest Arias for Base...
Reviewed by Richard Wigmore in issue: 08/2018
One wonders how many Juilliard graduates are breakdancing acrobats with a sideline in modelling. Nevertheless, it is the nuanced singing...
Reviewed by David Vickers in issue: 08/2018
If Gluck’s Orfeo was slow to catch on in Vienna, the city of its premiere, it enjoyed repeated success south...
Reviewed by Richard Wigmore in issue: 08/2018
One way or another, Charpentier’s miniature opera La descente d’Orphée aux enfers is incomplete: either there’s a third act missing...
Reviewed by Lindsay Kemp in issue: 08/2018
Gilbert didn’t only collaborate with Sullivan, and for many years Alfred Cellier was an indispensable part of the D’Oyly Carte...
Reviewed by Richard Bratby in issue: 08/2018
This is a recording of a hypothetical. What if Leonard Bernstein had rewritten his opera A Quiet Place for a...
Reviewed by Richard Bratby in issue: 08/2018
Neither a biography of his early years, nor a close analysis of the pieces that blew up post-war...
This Senofsky double pack is revelatory, especially Brahms’s Third Sonata, a thrilling account with...
Morrison’s Tchaikovsky is a rationalist who rather enjoys himself and aspires to a Mozartian poise...
These are engaging, spontaneous-sounding performances that if widely heard could well spark off a...
Richard Bratby charts the relationship between the conductor and his Italian orchestra
‘Mengelberg’s performances – like Furtwängler’s – were for the most part products of careful...
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