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VINCI Alto Arias

The Florentine countertenor Filippo Mineccia presents 14 alto arias for both male and female characters drawn from nine different works,...

Reviewed by David Vickers in issue: 05/2014

VERDI Opera Arias

Miss Stoyanova has made good records. ‘I palpiti d’amor’ and ‘Slavic Opera Arias’ (also in Munich for Orfeo, 11/08 and...

Reviewed by Mike Ashman in issue: 05/2014

OFFENBACH Les Contes d'Hoffmann

The Tales of Hoffmann, an opéra fantastique, was premiered at the Opéra-Comique in February 1881. Offenbach had been working on...

Reviewed by Richard Lawrence in issue: 05/2014

MUSSORGSKY Boris Godunov

The decision by opera companies to stage Mussorgsky’s original 1868/69 version of Boris Godunov is sometimes dismissed as economic expedience...

Reviewed in issue 05/2014

E HUGHES When the Flame Dies

Beware: this opera may take you hostage with its ability to get under your skin and its willingness to use...

Reviewed by David Patrick Stearns in issue: 05/2014

GLUCK Iphigénie en Aulide

Iphigénie en Aulide was the first opera that Gluck wrote for Paris, where it was staged in 1774. It’s not...

Reviewed by Richard Lawrence in issue: 05/2014

CACCINI Euridice

The birth of opera can be traced back to a few significant landmark events in Florence, such as Giulio Caccini’s...

Reviewed by David Vickers in issue: 05/2014

Cellophony: Vibrez!

Cellophony are a talented octet of young British cellists who for their second CD have put together a well-balanced programme...

Reviewed by Adrian Edwards in issue: 05/2014

Through the Looking Glass

Transcription is an art easily taken for granted in post-war music, making the inventiveness of a group such as Alpha...

Reviewed by Richard Whitehouse in issue: 05/2014

The Proud Bassoon

Peter Whelan is striving zealously to explode the preconceptions the bassoon is subjected to. This programme of 18th-century music –...

Reviewed by David Vickers in issue: 05/2014

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