Book review - Pierre Boulez: Organised Delirium (by Caroline Potter)
Neither a biography of his early years, nor a close analysis of the pieces that blew up post-war...
Mein Herze schwimmt im Blut draws on the parable of the Pharisee and the publican but ignores the smugness of...
Reviewed by Richard Lawrence in issue: 02/2014
Followers of this, the only remaining in-progress cantata series, will recall Sigiswald Kuijken’s strategy of selecting a single cantata for...
Reviewed by Jonathan Freeman-Attwood in issue: 02/2014
Chosen as the climax of last year’s The Rest is Noise festival of 20th-century music on London’s South Bank, John...
Reviewed by Mike Ashman in issue: 02/2014
This is an anthology with a difference. It consists of soprano arias, a duet and a trio, and a few...
Reviewed by Richard Lawrence in issue: 02/2014
The American countertenor Bejun Mehta’s thoughtfully chosen programme takes as its theme the new aesthetic of the 1750s and ’60s...
Reviewed by Richard Wigmore in issue: 02/2014
This kind of internal crossover of repertoire started with conductors – I’m a Baroque specialist but, hey, why don’t I...
Reviewed by Mike Ashman in issue: 02/2014
What is sung and played is Wagner’s Parsifal. What is staged is something else, based on the view (as the...
Reviewed by Arnold Whittall in issue: 02/2014
This Die Frau differs from some earlier opera recordings from the Mariinsky label in not calling upon the services of...
Reviewed in issue 02/2014
An operatic Moby-Dick seems impossible. Scenic demands aside, how could Herman Melville’s anecdotal narrative about ships and whales have operatic...
Reviewed by David Patrick Stearns in issue: 02/2014
This recording of Orlando (1733) was made after a mostly Canadian production at the Vancouver Early Music Festival. Alexander Weimann’s...
Reviewed by David Vickers in issue: 02/2014
Neither a biography of his early years, nor a close analysis of the pieces that blew up post-war...
This Senofsky double pack is revelatory, especially Brahms’s Third Sonata, a thrilling account with...
Morrison’s Tchaikovsky is a rationalist who rather enjoys himself and aspires to a Mozartian poise...
These are engaging, spontaneous-sounding performances that if widely heard could well spark off a...
Richard Bratby charts the relationship between the conductor and his Italian orchestra
‘Mengelberg’s performances – like Furtwängler’s – were for the most part products of careful...
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