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WAGNER Parsifal (Haenchen)

Whatever else Parsifal is about, we may agree that its ending represents the opening up of a closed society. That...

Reviewed by Mike Ashman in issue: AW17

WAGNER Lohengrin (Thielemann)

German interpreters have long dreamt of performing Wagner with star singers from the supposedly ‘opposite’ Italian or French vocal cultures,...

Reviewed by Mike Ashman in issue: AW17

VERDI Macbeth (Conlon)

To be undertaking new roles in major houses (and in a new Fach) well into your seventies – not to mention...

Reviewed by Mike Ashman in issue: AW17

STRAVINSKY Le Rossignol

With a composition history that straddles the period of the composer’s three breakthrough works for Diaghilev’s Ballets Russes, The Nightingale in...

Reviewed by Hugo Shirley in issue: AW17

STRAUSS Die Liebe der Danae

Straussians might have high hopes for this DVD. It captures the homecoming last year of Strauss’s penultimate opera to the site of...

Reviewed by Hugo Shirley in issue: AW17

LEVINAS Le Petit Prince

Marks out of ten for product management: zero. Here we have an audio recording of an opera sung in French with no...

Reviewed by Andrew Mellor in issue: AW17

HYDE That Man Stephen Ward

Thomas Hyde’s one-man chamber opera about the society osteopath scapegoated during the Profumo affair dates from 2008, when it was...

Reviewed by Tim Ashley in issue: AW17

HASSE Attilio Regolo

Marcus Attilius Regulus (d250 BC) was a Roman general who, initially victorious, became a prisoner in Carthage. Sent to Rome with...

Reviewed by Richard Lawrence in issue: AW17

GOUNOD Faust (Vienna Phil, Pérez)

‘Death is nothingness’, sings Iago at the end of his Credo in Verdi’s Otello. It could be the motto for Reinhard von...

Reviewed by Mark Pullinger in issue: AW17

GETTY The Canterville Ghost

Despite its conventionally sentimental conclusion, most of Oscar Wilde’s The Canterville Ghost is a laugh-out-loud satire on the foibles of an American family...

Reviewed by Philip Kennicott in issue: AW17

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