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STEFFANI Baccanali

Agostino Steffani (1654-1728) is an interesting figure. Italian by birth, he spent his working life in Germany. Composer, priest –...

Reviewed by Richard Lawrence in issue: 08/2017

SAINT-SAËNS Prosperine

Of Saint-Saëns’s 13 operas, only Samson et Dalila is a repertory staple. Palazzetto Bru Zane’s mission to promote rare French...

Reviewed by Mark Pullinger in issue: 08/2017

ROSSINI The Barber of Seville (Mazzola)

This 2016 Glyndebourne production of Rossini’s Il barbiere di Siviglia was the first to be staged there since the elegantly...

Reviewed by Richard Osborne in issue: 08/2017

RAVEL L'enfant et les sortilèges. Ma Mère l'Oye

Ravel was never more sincere than in his works devoted to childhood, the theme for this fifth volume in Stéphane...

Reviewed by Mark Pullinger in issue: 08/2017

MOZART Die Zauberflöte (Fischer)

It’s not clear what La Scala intended to capture for posterity in this recording. The singers, orchestra and chorus are...

Reviewed by Neil Fisher in issue: 08/2017

MARTINŮ The Greek Passion

Martinů’s The Greek Passion, with its tale of refugees and the lack of tolerance which divides the community where they...

Reviewed by Mark Pullinger in issue: 08/2017

GLUCK Heroes in Love

All-Gluck aria discs are still not all that common. This century has seen fine examples from Daniel Behle (Decca, 9/14)...

Reviewed by Lindsay Kemp in issue: 08/2017

BERLIOZ Béatrice et Bénédict

A generous cocktail of melodies and a conjuror’s hat of pointedly apt dramaturgical settings make up Berlioz’s late (1862) setting...

Reviewed by Mike Ashman in issue: 08/2017

Véronique Gens: Visions

This tremendous, heady disc finds Véronique Gens and Hervé Niquet examining sub-cults of visionaries, saints and mystics in some of...

Reviewed by Tim Ashley in issue: 07/2017

LULLY Armide

Armide (1686) was the last collaboration between Lully and the librettist Quinault. Considered by contemporaries as the perfect exemplar of...

Reviewed by David Vickers in issue: 07/2017

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