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SCARTAZZINI Edward II

The most successful British operas of the last few years would suggest that a sizeable strand of the opera audience...

Reviewed by Andrew Mellor in issue: 03/2018

MOZART Lucio Silla (Minkowski)

Although this production of the teenage Mozart’s Lucia Silla was first seen at the Salzburg Festival in 2013, it was...

Reviewed by Hugo Shirley in issue: 03/2018

HANDEL Lotario (Cummings)

The libretto of Lotario (1729) was adapted from Orlandini’s Adelaide, which Handel had probably heard recently in Venice while recruiting...

Reviewed by David Vickers in issue: 03/2018

Franco Fagioli: Handel Arias

Back in 2004 a rising young countertenor released his first solo recording of arias by Handel and Mozart (Arte Nova,...

Reviewed by Alexandra Coghlan in issue: 03/2018

BIZET Djamileh

The general consensus is that Bizet’s first mature work is a decent piece of music but not such a great...

Reviewed by Andrew Mellor in issue: 03/2018

BELLINI Norma (Gamba)

Hot on the heels of Opus Arte’s release of the Royal Opera’s new Norma, given a guarded welcome by Neil...

Reviewed by Hugo Shirley in issue: 03/2018

DEBUSSY Préludes (Barenboim; Pollini)

Daniel Barenboim’s first solo Debussy CD is not as new as it appears. The Préludes Book 1 comprise the soundtrack...

Reviewed by Jed Distler in issue: 03/2018

Bach Unlimited

The concept behind Lise de la Salle’s ‘Bach Unlimited’ is to interweave music either written by or inspired by JS...

Reviewed by Jed Distler in issue: 03/2018

Mark Hambourg: Encores & Rarities

Like APR’s earlier release of Hambourg’s complete Liszt Hungarian Rhapsodies (1/06 – a gramophone first), this selection of 49 different...

Reviewed by Jeremy Nicholas in issue: 03/2018

SZYMANOWSKI Piano Works Vol 4 & 5

Karol Szymanowski was neither one of the 20th century piano-virtuoso-composers on the model of Bartók or Prokofiev nor an ardent...

Reviewed by Patrick Rucker in issue: 03/2018

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