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BEETHOVEN Overtures

Out-and-out vibrato-less string tone from the Deutsche Kammerphilharmonie accentuates how Beethoven begins nearly all his major overtures with a note...

Reviewed by Peter Quantrill in issue: 01/2015

TCHAIKOVSKY Serenade BARTÓK Divertimento

Tchaikovsky’s Serenade and Bartók’s Divertimento go well together, their liveliness and ease of invention concealing the brilliance and ingenuity of...

Reviewed by John Warrack in issue: 01/2015

JS BACH Piano Concertos BWV1052-1058

Performance intentions expressed in booklet interviews can often present difficulties for listeners. Here, the iconoclastic impression of Yorck Kronenberg conveyed...

Reviewed by Jonathan Freeman-Attwood in issue: 01/2015

JS BACH Brandenburg Concertos

Florilegium put concert performances of the Brandenburg Concertos at the heart of their 20th-anniversary celebrations in 2011 and this recording...

Reviewed by Lindsay Kemp in issue: 01/2015

Il Pianto d'Orfeo: The Birth of Opera

Nicolas Achten has thoughtfully woven together extracts from various 17th-century music dramas on the myth of Orpheus, from the Florentine...

Reviewed by David Vickers in issue: 01/2015

WAGNER Das Rheingold

Terje Stensvold is a relatively late-starting but true-sounding baritone Wotan who phrases the god’s pronouncements well. Kurt Streit has not...

Reviewed by Mike Ashman in issue: 01/2015

VERDI Rigoletto

Dramatically we’re back in the stone age. No one apart from Louis Quilico’s jester or Isola Jones’s sexy Maddalena does...

Reviewed by Mike Ashman in issue: 01/2015

VERDI Falstaff

If the premise for Damiano Michieletto’s Salzburg production of Falstaff is not exactly promising, one can perhaps understand his reasons...

Reviewed by Hugo Shirley in issue: 01/2015

RAMEAU The Sound of Light

Teodor Currentzis’s effusive dedicatory preface suggests that Rameau’s music ‘radiates the richest Apollonian light. His music travels straight to your...

Reviewed by David Vickers in issue: 01/2015

RAMEAU Hippolyte et Aricie

Ivan Alexandre’s rigorously historicist production of Hippolyte et Aricie requires that singers almost always face the front and sing downstage,...

Reviewed by David Vickers in issue: 01/2015

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