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ROSSINI Ricciardo e Zoraide (Pérez-Sierra)

Ricciardo e Zoraide was written for the Teatro San Carlo in Naples in 1818, midway through Rossini’s seven-year residency in...

Reviewed by Richard Osborne in issue: 04/2018

PUCCINI La Rondine (Repušić)

Puccini’s wartime attempt to emulate the success of Lehár has always been the dark sheep of his output. But La...

Reviewed by Hugo Shirley in issue: 04/2018

PORPORA Germanico in Germania

Nicola Porpora was long famous by association rather than through his own music. In the early 1750s he was mentor...

Reviewed by Richard Wigmore in issue: 04/2018

R PATERSON Three Way

Three Way is a trio of one-act operas by composer Robert Paterson and librettist David Cote. In The Companion, a...

Reviewed by Andrew Farach-Colton in issue: 04/2018

MONTEVERDI Il ritorno d’Ulisse in patria

Monteverdi would hardly have returned to the composition of works for the theatre at such an advanced age had it...

Reviewed by Iain Fenlon in issue: 04/2018

MARAIS Sémélé (Niquet)

What most strikes one about Marais’s Sémélé is the professional conception of this masterpiece of tragédie lyrique. Marais and his...

Reviewed by Julie Anne Sadie in issue: 04/2018

Roberta Invernizzi: The Gasparini Album

In his booklet note, Carlo Ipata advises that this is only ‘one of the many possible’ portraits of Francesco Gasparini....

Reviewed by Lindsay Kemp in issue: 04/2018

Bruce Levingston: Windows

Bruce Levingston’s annual solo CD releases follow a pattern consisting of a poetic title and a programme interweaving old and...

Reviewed by Jed Distler in issue: 04/2018

In the Weeds: Music for Wind Quintet

This is an engaging – and engagingly played – programme of mostly unfamiliar music for wind quintet. The New Brunswick-based...

Reviewed by Guy Rickards in issue: 04/2018

VOLKER Young Prometheus

More than half of this disc of music by the American composer Mark Volker is devoted to the titular Young...

Reviewed by Donald Rosenberg in issue: 04/2018

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