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Ferveur & Extase

French ensemble Amarillis set out here to explore two female characters who fascinated Baroque sensibilities, Dido and the Virgin Mary....

Reviewed by Lindsay Kemp in issue: 02/2012

Arias for Anna de Amicis

‘De Amicis sings beyond comparison’ was the 14 year-old Mozart’s verdict on the Neapolitan soprano for whom, two years later,...

Reviewed by Richard Wigmore in issue: 02/2012

WEILL Aufstieg und Fall der Stadt Mahagonny

Without use of that word beginning with V that puts many non-Germans off (let’s call it ‘irony’ or ‘alienation’), Brecht’s...

Reviewed by Mike Ashman in issue: 02/2012

SCHREKER Irrelohe

Despite a steady increase in recordings of his major scores – this second digital Irrelohe joins Der ferne Klang, Die...

Reviewed by Mike Ashman in issue: 02/2012

PERGOLESI Adriano In Siria

Metastasio’s libretto Adriano in Siria was first set to music by Caldara (Vienna, 1732), and subsequently adapted for many more...

Reviewed by David Vickers in issue: 02/2013

HAYDN L’anima del filosofo: Orpheus et Eurydice

Composed for London’s King’s Theatre, Haydn’s Orpheus opera fell victim to aristocratic intrigue and power struggles, and lay unperformed until...

Reviewed by Richard Wigmore in issue: 02/2012

DUKAS Ariane et Barbe-Bleue

Paul Dukas’s take on the Bluebeard legend has a libretto by Maurice Maeterlinck and a score that evokes both Debussy...

Reviewed by Andrew Lamb in issue: 02/2012

DONIZETTI Maria di Rohan

>Maria di Rohan is Donizetti’s penultimate opera, preceded by Don Pasquale and followed only by Dom Sébastien. It was first...

Reviewed by Richard Lawrence in issue: 02/2012

CUNNINGHAM The Okavango Macbeth

Having set up an opera house in Botswana, how best to go about creating the basis of a repertoire on...

Reviewed by Richard_Whitehouse in issue: 02/2012

CAVALLI La Rosinda

The booklet for this release tells us that it is not only a world premiere recording but that La Rosinda...

Reviewed by Lindsay Kemp in issue: 02/2012

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