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PIAZZOLLA María de Buenos Aires

‘I play with violence’, Astor Piazzolla once said. ‘My bandoneón must sing and scream. Sometimes I beat the bandoneón up.’...

Reviewed by Tim Ashley in issue: 02/2018

MOZART Le nozze di Figaro (Welser-Möst)

A day of torment, caprice and madness is how the key players of Le nozze di Figaro sum up their...

Reviewed by Neil Fisher in issue: 02/2018

LULLY Alceste

‘Next to Euripides or Gluck, Lully’s Alceste is a joke’, was Joseph Kerman’s withering verdict in Opera as Drama (Knopf:...

Reviewed by Richard Wigmore in issue: 02/2018

HEGGIE Great Scott

There’s a cunning (and witty) interplay of ideas at work here. Sport versus Art, better yet American Football versus Opera;...

Reviewed by Edward Seckerson in issue: 02/2018

DEBUSSY Pelléas et Mélisande (Pascal)

The challenging Malmö company from the southern tip of Sweden looked largely to France (and, intriguingly, to experience of the...

Reviewed by Mike Ashman in issue: 02/2018

BIZET Carmen (Carignani)

In a brief interview included as a bonus, the designer Es Devlin talks of the challenges of creating a set...

Reviewed by Hugo Shirley in issue: 02/2018

BELLINI I Puritani (Pidò)

This opera, Bellini’s last, has a fairly silly plot, what with Cavalier Arturo abandoning Elvira on their wedding day to...

Reviewed by Richard Lawrence in issue: 02/2018

The Topping Tooters of the Town: Music of the London Waits, 1580-1650

William Lyons’s brief but telling booklet notes for ‘The Topping Tooters of the Town’ read like a passionate cry of...

Reviewed by Alexandra Coghlan in issue: 02/2018

PIERNÉ; SAINT-SAËNS; DEBUSSY Violin Sonatas

In search of la petite phrase: what Francophile wouldn’t be fascinated by a recital devoted to the various real-life works...

Reviewed by Richard Bratby in issue: 02/2018

Intuition

‘Intuition, by Gautier Capuçon’: it sounds like an aftershave, and it’s a curious title for a distinctly counterintuitive collection of...

Reviewed by Richard Bratby in issue: 02/2018

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