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GLASS The Lost

It isn’t every day that an opera house opens its doors for the first time. Hardly surprising, then, that the...

Reviewed by Pwyll ap Siôn in issue:

BORODIN Prince Igor

Compared to the task of sorting a performing version of Borodin’s unfinished 1869 87 opera, choosing an edition of a...

Reviewed by Mike Ashman in issue: 12/2014

BIZET Carmen

There’s no shortage of good filmed versions of Carmen and one of the best, from Covent Garden, like this one,...

Reviewed by Hugo Shirley in issue: 12/2014

BERG Lulu

It’s only right that any performance of Lulu should revolve around its protagonist. But the way that the Canadian soprano...

Reviewed by Hugo Shirley in issue: 12/2014

Thile & Meyer: Bass & Mandolin

Whether it’s by playing solo Bach with astonishing physical and intellectual dexterity, jamming with the likes of Yo Yo Ma,...

Reviewed by William Yeoman in issue: 11/2014

Llŷr Williams: Wagner Without Words

Wagner’s operas have inspired innumerable piano transcriptions from Carl Tausig to Zoltán Kocsis but those to which pianists most frequently...

Reviewed by Jeremy Nicholas in issue: 11/2014

DEBUSSY Images Books 1 & 2. Préludes, Book 2

Marc-André Hamelin’s stature, extraordinary from the start, increases with every new issue. And here in his latest album he subdues...

Reviewed by Bryce Morrison in issue: 11/2014

OFFENBACH Fantasio

To say that Fantasio was one of Offenbach’s more obscure operas would be putting it mildly. A failure at the...

Reviewed by Richard Lawrence in issue: 11/2014

Patricia Petibon: La Belle Excentrique

Patricia Petibon’s photo along with some art nouveau-ish script implies music from the belle époque. But no. This far more...

Reviewed by David Patrick Stearns in issue: 11/2014

Joyce DiDonato: Stella di Napoli

After her programme of Baroque arias in ‘Drama Queens’ (Virgin, 1/13), Joyce DiDonato moves on a century to treat us...

Reviewed by Richard Lawrence in issue: 11/2014

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