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CHOPIN Complete Etudes

A famous pianist (I shan’t say who) to whom I was speaking recently said I really should hear this young...

Reviewed by Jeremy Nicholas in issue: 02/2015

CHOPIN Etudes SCHUMANN Symphonic Etudes

Two new sets of Chopin Etudes from two Russians. They’re presented quite differently, Lev Vinocour gravely introduced as ‘a rare...

Reviewed by Harriet Smith in issue: 02/2015

WAGNER Parsifal

‘Who is the grail?’ Parsifal’s apparently naive question receives an ingeniously literal answer at the climax of a Communion scene...

Reviewed by Peter Quantrill in issue: 02/2015

VERDI Il Trovatore

Dmitri Tcherniakov has nothing to say about Il trovatore, and he says it badly. There is no doubt, after a...

Reviewed by Mike Ashman in issue: 02/2015

VERACINI Adriano in Siria

Madcap Florentine violinist Francesco Maria Veracini (1690 1768) composed Adriano in Siria (1735) for London’s Opera of the Nobility. The...

Reviewed by David Vickers in issue: 02/2015

STRAUSS Arabella

When this 2014 Salzburg Easter Festival production of Strauss and Hofmannsthal’s final opera transferred to Dresden, Renée Fleming was replaced...

Reviewed by Hugo Shirley in issue: 02/2015

SAINT-SAËNS Les Barbares

Of Saint-Saëns’s 12 operas, only the second, Samson et Dalila, is well known. Now, thanks to the enterprise of the...

Reviewed by Richard Lawrence in issue: 02/2015

REBEL Ulysee

If the name Jean-Féry Rebel (1666-1747) rings any bells, it is probably as the composer of a chamber work, Les...

Reviewed by Richard Lawrence in issue: 02/2015

MILHAUD L’Orestie d’Eschyle

For those who mainly know Milhaud for his exotic, jazzy, congenial orchestral suites, his terse string quartets and eye-crossing productivity...

Reviewed by David Patrick Stearns in issue: 02/2015

HANDEL Rodelinda

This production is something of a family affair because the stage director is the conductor’s son. Set in a revolving...

Reviewed by David Vickers in issue: 02/2015

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