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WEBER Der Freiscütz

Although this is a far from ‘historical’-sounding performance, Christian Thielemann’s gives full due to Weber’s concertante-like wind-writing and to the...

Reviewed by Mike Ashman in issue: 01/2016

WAGNER Tannhäuser

Even a frustrated ballerina lover from the 1861 Jockey Club that disrupted the premiere of Wagner’s new Paris Tannhäuser might...

Reviewed by Mike Ashman in issue: 01/2016

WAGNER Lohengrin

To date Knappertsbusch has been represented in Lohengrin only sporadically on disc. This new discovery still provides a late throw...

Reviewed by Mike Ashman in issue: 01/2016

SZYMANOWSKI King Roger

Kasper Holten’s first two stagings for the Royal Opera were, respectively, afflicted by too much emphasis on cerebral concept and...

Reviewed by Neil Fisher in issue: 01/2016

SMETANA Dalibor

Even if you didn’t know a note of Smetana’s opera Dalibor, you’d be able to identify the composer. The bardic...

Reviewed by Mark Pullinger in issue: 01/2016

PUCCINI La fanciulla del West

There have been several other worthwhile DVD releases of La fanciulla del West in the past couple of years but...

Reviewed by Richard Fairman in issue: 01/2016

LIMA Sinfonie ed Arie

Jerónimo Francisco de Lima (1741-1822) was sponsored by Joseph I of Portugal to study for six years in Naples at...

Reviewed by David Vickers in issue: 01/2016

Vladimir Horowitz: Return To Chicago

‘My inspiration comes always from the voice. I have more records of old voices than I do of old pianists.’...

Reviewed by Harriet Smith in issue: 01/2016

Jura Margulis: Piano Solo con sordino

Jura Margulis is a name that has not crossed my radar before. Clearly it should have done – and not...

Reviewed by Jeremy Nicholas in issue: 01/2016

SOLER Sol de mi fortuna

It is easy to think of Antonio Soler as the Scarlatti pupil who perpetuated his master’s sonata style with the...

Reviewed by Lindsay Kemp in issue: 01/2016

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