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Anna Prohaska: Serpent and Fire

Anna Prohaska’s ‘Serpent & Fire’ surveys the Baroque response to the figures of Dido and Cleopatra, women whose ‘frenziedly proffered...

Reviewed by Tim Ashley in issue: 10/2016

Orfeo Chamán

It’s always a case of expect the unexpected with Christina Pluhar and her chameleon band L’Arpeggiata. One moment they’re Baroque,...

Reviewed by Alexandra Coghlan in issue: 10/2016

Stefano Secco: Crescendo

‘Crescendo’ is a puzzling title for Stefano Secco’s collection of Italian and French arias, given that he sings most of...

Reviewed by Mark Pullinger in issue: 10/2016

Marita Sølberg

Marita Sølberg’s name is only familiar to me through editing reviews from Norwegian National Opera, where the soprano has built...

Reviewed by Mark Pullinger in issue: 10/2016

WAGNER Parsifal

Last year’s new Parsifal from Berlin is not made bitingly contemporary but gently updated. Its Grail knights, bearded and winter-clothed,...

Reviewed by Mike Ashman in issue: 10/2016

RAMEAU Dardanus

Raphaël Pichon and Pygmalion have already recorded the 1744 version of Dardanus on CD (Alpha, 4/14). The opera was first...

Reviewed by Richard Lawrence in issue: 10/2016

PROKOFIEV Semyon Kotko

Valery Gergiev and his Mariinsky Opera have a self-defeatingly arduous schedule, but catch them firing on all cylinders in one...

Reviewed by David Gutman in issue: 10/2016

MOZART Zaide

Mozart seldom put pen to music paper without a confirmed commission, but one notable exception is the Singspiel he started...

Reviewed by David Vickers in issue: 10/2016

Roma Aeterna

Its Roman theme notwithstanding, this particular programme has been designed with an eye to the market: Renaissance Masses don’t come...

Reviewed by Fabrice Fitch in issue: 10/2016

Notturno: L'Escadron volant de la Reine

The enterprising L’Escadron Volant de la Reine have devised a programme of Lamentations for Holy Week by three composers associated...

Reviewed by David Vickers in issue: 10/2016

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