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FIELD Complete Nocturnes

Not one but two sets of Field nocturnes have come my way this month (Ewa Pobłocka’s period-instrument set is reviewed...

Reviewed by Harriet Smith in issue: 08/2016

Rolf Lislevand: La Mascarade; DE VISEÉ Pieces for théorbe

Baroque guitarists Francesco Corbetta and his pupil Robert de Visée were masters of chiaroscuro, of nuance, suggestion and – unintentionally...

Reviewed by William Yeoman in issue: 08/2016

BEETHOVEN Piano Sonatas Nos 9, 16, 19, 20 & 26

Angela Hewitt leaves few stones unturned in projecting the linear specificity of Beethoven’s style. In Op 31 No 1’s first...

Reviewed by Jed Distler in issue: 08/2016

JS BACH Clavier-Übung III, BWV669-89

Bookended by the great Prelude and Fugue in E flat, the third part of the Clavier Übung appeared in 1739...

Reviewed by Jonathan Freeman-Attwood in issue: 08/2016

Cameron Carpenter: All you need is Bach

For those who enjoy the spectacle of breathtaking fingerwork and dazzling articulation, who marvel at impeccable accuracy at incredible speeds...

Reviewed by Marc Rochester in issue: 08/2016

WAGNER Der Ring des Nibelungen

Following his 1980-83 studio cycle with the Dresden Staatskapelle (Eurodisc, currently on Sony), Marek Janowski’s Pentatone set with the Rundfunk-Sinfonieorchester...

Reviewed by Mike Ashman in issue: 08/2016

ROSSINI Il viaggio a Reims

‘This opera is a feast’ was Stendhal’s judgement on Il viaggio a Reims, though this sophisticated entertainment, written at the...

Reviewed by Richard Osborne in issue: 08/2016

PUCCINI Gianni Schicchi

You normally know what you’re getting from a Woody Allen production when the black screen with the white credits pops...

Reviewed by Neil Fisher in issue: 08/2016

MOZART Die Entführung aus dem Serail

This is such an enjoyable production of Mozart’s Turkish opera that it seems churlish to draw attention to its defects....

Reviewed by Richard Lawrence in issue: 08/2016

MEYERBEER Dinorah

Meyerbeer needs his operatic champions. Robert le diable was poorly served by Laurent Pelly’s 2012 production at Covent Garden, but...

Reviewed by Mark Pullinger in issue: 08/2016

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