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Karina Gauvin: Mozart Arias

Over the last decade Karina Gauvin has proved herself one of the most delightful of Baroque sopranos. Her pellucid tone,...

Reviewed by Richard Wigmore in issue: 09/2014

JONCIÈRES Dimitri

The Palazzetto Bru Zane in Venice certainly does not skimp on its championship of sidelined French Romantic music. Here, in...

Reviewed by Geoffrey Norris in issue: 09/2014

GLUCK Orfeo ed Euridice

This is the first version of the opera, composed for Vienna in 1762, with none of the accretions from the...

Reviewed by Richard Lawrence in issue: 09/2014

DONIZETTI Don Pasquale

In the theatre Donizetti’s well-sprung comedy usually seems to work like clockwork, so it is surprising there is no obvious...

Reviewed by Richard Fairman in issue: 09/2014

Emilía Rós Sigfúsdóttir: Portrait

The flute stands out here as being the most flexible instrument in the woodwind family, capable of prodigious feats of...

Reviewed by Ivan March in issue: 09/2014

Ensemble Recherche: Libeslieder

Nothing here need give Elton John or James Blunt any sleepless nights. For starters, none of these 30 love songs...

Reviewed by Philip Clark in issue: 09/2014

Leipzig!

When is an octet not an octet? When, as here, the flute, oboe and pairs of clarinets, horns and bassoons...

Reviewed by Guy Rickards in issue: 09/2014

An Italian in Paris

The title refers to the Bolognese guitarist and theorbist Angelo Michele Bartolotti, whose lightweight Chaconne is included in the programme....

Reviewed by Julie Anne Sadie in issue: 09/2014

Arioso & Brillante

This is the third of the Berlin Philharmonic’s solo trumpeter’s discs on Tudor and the most engaging. Tarkövi and Kofler...

Reviewed by Jonathan Freeman-Attwood in issue: 09/2014

1919 - Viola Sonatas

It is difficult to find a thread to join any free standing works for viola; but that its sound has...

Reviewed by Caroline Gill in issue: 09/2014

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