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VINCI Artaserse

Artaserse was first performed at the Teatro delle Dame in Rome on February 4, 1730. (Less than four months later...

Reviewed by Richard Lawrence in issue: 07/2014

ROYER Pyrrhus

Joseph-Nicolas-Pancrace Royer (1703 55) was the master of music at the Paris Opéra during the early 1730s, a leading light...

Reviewed by David Vickers in issue: 07/2014

ROSSINI Otello

Rossini’s Otello has had a handful of stagings in recent years but none as potent as this. Conceived for the...

Reviewed by Richard Osborne in issue: 07/2014

D PURCELL The Judgment of Paris

‘At last we have a recording of John Eccles’s Judgment of Paris’, wrote Julie Anne Sadie of the Early Opera...

Reviewed by Lindsay Kemp in issue: 07/2014

HANDEL Orlando

With this new recording, based on a production at La Monnaie, Orlando now rivals Giulio Cesare as the best-served Handel...

Reviewed by Richard Wigmore in issue: 07/2014

GERSHWIN Porgy and Bess

Times are tough for seasoned admirers of Porgy and Bess. The recent Broadway production sliced, diced and reorchestrated the score...

Reviewed by David Patrick Stearns in issue: 07/2014

DONIZETTI Rita

The history of Donizetti’s Rita, completed in 1839 but left unperformed at the composer’s death, is of a complexity out...

Reviewed in issue 07/2014

BRITTEN Death in Venice

One of the advantages of watching opera on DVD is that you get the best seat in the house. In...

Reviewed by Richard Fairman in issue: 07/2014

BARTÓK Duke Bluebeard's Castle

Sir John Tomlinson’s world-weary enactment of the tortured Bluebeard is variously available under the batons of James Levine (Munich Philharmonic),...

Reviewed by Rob Cowan in issue: 07/2014

Joyce Yang: Wild Dreams

Basing her recital around dream and night, Joyce Yang puts unlike alongside unlike in a dream-like sequence, one where ‘impulse...

Reviewed by Harriet Smith in issue: 07/2014

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