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FALVETTI Il Diluvio Universale

Michelangelo Falvetti, maestro di cappella at Messina Cathedral during the 1680s, is almost as obscure a figure as you can...

Reviewed by Lindsay Kemp in issue: 03/2012

DEBUSSY Pelléas and Mélisande

ENO 30 years ago. For the company’s first Pelléas, a controversial stage production (Harry Kupfer) decidedly not set in some...

Reviewed by Mike Ashman in issue: 03/2012

Vittorio Grigolo: Arrivederci

For those who have been on Mars, the Italian tenor Vittorio Grigolo once sang in both the Sistine Chapel choir...

Reviewed by Mike Ashman in issue: 06/2012

WAGNER Tannhäuser

Though often a director of dazzling invention, Robert Carsen takes such a contrary approach to Tannhäuser in this production that,...

Reviewed by David Patrick Stearns in issue: 06/2012

VIVALDI Orlando Furioso, RV728

Not so much furious as mad: and they don’t come much madder than Orlando in this production by Pierre Audi....

Reviewed by Richard Lawrence in issue: 06/2012

MONTEVERDI L'incoronazione di Poppea

Monteverdi’s last opera is renowned for two particular features: the principal characters are drawn from history rather than legend, and...

Reviewed by Richard Lawrence in issue: 06/2012

MASSENET Werther

It is a shame that this live recording of Werther comes to us as audio only. Although the Royal Opera’s...

Reviewed by Richard Fairman in issue: 06/2012

HERMANN Wuthering Heights

The full plot of Emily Brontë’s novel makes those of Russian 19th-century epics read like Noddy. Like Carlisle Floyd, Bernard...

Reviewed by Mike Ashman in issue: 06/2012

HARVEY Wagner Dream

Avoiding the more prosaic title, Wagner’s Dream, Jonathan Harvey and his librettist Jean-Claude Carrière identify their true theme: a 21st-century...

Reviewed by Arnold Whittall in issue: 06/2012

HANDEL Il pastor fido, HWV8a

The musical and theatrical extravagances of Handel’s first London opera, Rinaldo, had created a sensation early in 1711. Over a...

Reviewed by Richard Wigmore in issue: 06/2012

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