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Cecilia Bartoli: St Petersburg

The latest of Cecilia Bartoli’s exuberant explorations of neglected areas of 17th- and 18th-century opera has journeyed north to St...

Reviewed by Lindsay Kemp in issue: 11/2014

HANDEL; BONONCINI; ARIOSTI Arias and scenes

‘Some say, compar’d to Bononcini / That Mynheer Handel’s but a Ninny. / Others aver, that he to Handel /...

Reviewed by Richard Wigmore in issue: 11/2014

VERDI Il Trovatore

Here is a dilemma. Is the presence of Anna Netrebko and Plácido Domingo enough to justify a purchase, or does...

Reviewed by Richard Fairman in issue: 11/2014

A TCHAIKOVSKY The Merchant of Venice

It is a minor miracle that a score so well paced and characterised, so well written for its many voices,...

Reviewed by Mike Ashman in issue: 11/2014

STRAUSS Intermezzo

Long dismissed by the squeamish as tastelessly voyeuristic but admired by many whose attitudes to the composer were generally far...

Reviewed in issue 11/2014

RAMEAU Les Indes galantes

Rameau’s opéra-ballet Les Indes galantes (mostly 1735) examines why true love seems to have been abandoned in Europe and can...

Reviewed by David Vickers in issue: 11/2014

MUHLY Two Boys

A number of contemporary operas have embraced the 21st century by taking recent historical events as their starting point. American...

Reviewed by Pwyll ap Siôn in issue: 11/2014

MOZART Mitridate, re di Ponto

The almost 15-year-old Mozart’s first opera seria (Milan, 1770) was performed 22 times but not revived again until 1970. The...

Reviewed by David Vickers in issue: 11/2014

HONEGGER King David

König David? The world hasn’t exactly been waiting for a German language recording of this once-popular musico-dramatic telling of the...

Reviewed by David Patrick Stearns in issue: 11/2014

Handel: Heroes from the Shadows

Another Handel arias disc? Yes; although for once not just a run-down of usual arias from roles a singer happens...

Reviewed by Lindsay Kemp in issue: 11/2014

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