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SCHUBERT Schwanengesang. Klavierstück D946 No 2

A couple of years ago Stephan Genz and Michel Dalberto released a Winterreise that was welcomed in these pages by...

Reviewed by Hugo Shirley in issue: 09/2017

SCHUBERT Arias & Overtures (Behle)

Handicapped by stilted, slow-moving librettos, Schubert’s stage works, like Haydn’s, seem forever destined to languish on the margins of the...

Reviewed by Richard Wigmore in issue: 09/2017

RACHMANINOV Vespers

This recording joins what is now a very crowded market indeed, so much has Rachmaninov’s masterpiece become part of the...

Reviewed by Ivan Moody in issue: 09/2017

MAYR Einsiedeln Mass. Stabat mater

In his lifetime Haydn was frequently taken to task for the worldliness of his Masses – too much of the...

Reviewed by Richard Wigmore in issue: 09/2017

MANSURIAN Requiem

Equally known as a composer of film scores (notably that for Sergey Parajanov’s The Colour of Pomegranates) as for the...

Reviewed by Richard Whitehouse in issue: 09/2017

LOBO Missa Vox Clamantis

As austerely beautiful as the cathedrals that it filled, the music of the Spanish Renaissance stands apart from its Italian...

Reviewed by Alexandra Coghlan in issue: 09/2017

HANDEL Il Trionfo del Tempo e del Disinganno

Handel’s first oratorio (Rome, 1707) is a moral dispute over the eternal happiness of the naive Beauty (Bellezza), who struggles...

Reviewed by David Vickers in issue: 09/2017

HANDEL 9 German Arias (Schöder)

Hot on the heels of uneven accounts of Handel’s so-called German Arias by Ina Siedlaczek (Audite) and Gillian Keith (Channel...

Reviewed by David Vickers in issue: 09/2017

BEETHOVEN Missa Solemnis (Janowski)

The venue is the Berlin Philharmonie, the engineering teams of Pentatone and German radio familiar from many excellent recordings, but...

Reviewed by Peter Quantrill in issue: 09/2017

BEDNALL Sudden Light

‘Lux’ – the opening word of the opening track on ‘Sudden Light’, Lux orta est iusto – bursts into the...

Reviewed by Alexandra Coghlan in issue: 09/2017

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