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JS BACH Six Sonatas and Partias for Solo Violin

There is delicate ornamentation present here (and not Baroque-specific ornamentation) that is so sparingly used that one would be forgiven...

Reviewed by Caroline Gill in issue: 06/2015

CPE BACH Solo Keyboard Music

Miklós Spányi has probably done more than anyone alive to promote CPE Bach’s waywardly inspired keyboard music, sometimes bizarre, even...

Reviewed by Richard Wigmore in issue: 06/2015

VERDI Sicillian Vespers

Setting a grand opera on a grand opera-house stage costumed at the time of its premiere has been done before...

Reviewed by Mike Ashman in issue: 06/2015

SHCHEDRIN The Left-Hander

Nikolay Leskov is probably best known to English readers, certainly to English music lovers, as the author of The Lady...

Reviewed by John Warrack in issue: 06/2015

ROSSINI William Tell

This 2013 ‘Rossini in Wildbad’ production of Guillaume Tell is probably as fine an achievement as any in the festival’s...

Reviewed by Richard Osborne in issue: 06/2015

PURCELL Dido and Aeneas

Dido and Aeneas strikes me as a piece that struggles to gain a great deal from modern-day opera-house stagings. The...

Reviewed by Lindsay Kemp in issue: 06/2015

MONTEVERDI Il ritorno d'Ulisse in patria

There is a thorny issue about how much (or little) of Il ritorno d’Ulisse in patria (Venice, 1640) is actually...

Reviewed by David Vickers in issue: 06/2015

DVOŘÁK Alfred

The only explanation for Alfred is that it was a practice opera. Dvořák's first attempt in the medium, it was...

Reviewed by David Patrick Stearns in issue: 06/2015

DONIZETTI La Favorite

Like Les martyrs (see below), La favorite – which had its Paris premiere at the end of the same year...

Reviewed by Mike Ashman in issue: 06/2015

MARAIS; DESTOUCHES; HANDEL Sémélé

It seems an excellent idea to take extracts from different settings of the story of Semele. Marais’s tragédie lyrique Sémélé...

Reviewed by David Vickers in issue: 05/2015

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