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...
The Poet Prosdocimo writes: “Is it not enough that I cudgelled my brains to concoct for Mr Rossini this charming...
Reviewed by Richard Osborne in issue: 5/1998
At a time when new issues of Mendelssohn quartets seem to arrive every month it’s interesting to be reminded of...
Reviewed by DuncanDruce in issue: 9/2005
I’m afraid Padre Guardiano’s advice to Alvaro to moderate his language (“Non imprecare”) came two hours too late for me....
Reviewed by John Steane in issue: 5/2009
An intriguing point arises in the second movement. It is meant to be Adagio but the Gaudier pace it fairly...
Reviewed by Nalen Anthoni in issue: 5/2003
I shall be lucky if I review a more satisfying disc this year. Here we have a singer at the...
Reviewed by Alan Blyth in issue: 6/1993
It is only a few months since Naxos issued the historic first recording of Turandot, made originally by Cetra in...
Reviewed by Patrick O'Connor in issue: 7/2003
One suspects that an hour with Pierre-Octave Ferroud would have been time spent in the company of a man bristling...
Reviewed by John Steane in issue: 5/1998
This, the last of Karajan’s opera recordings, is one of the most successful of his later contributions to the genre....
Reviewed by Alan Blyth in issue: 2/1997
This is a very different reading of the Shostakovich from that of Ma and Ax on CBS, but it too...
Reviewed by Stephen Johnson in issue: 3/1990
Here is an Oranges sung in Russian as originally composed, rather than in the (equally authentic) French of the first...
Reviewed by David Fanning in issue: 12/2007
Neither a biography of his early years, nor a close analysis of the pieces that blew up post-war...
Morrison’s Tchaikovsky is a rationalist who rather enjoys himself and aspires to a Mozartian poise...
This Senofsky double pack is revelatory, especially Brahms’s Third Sonata, a thrilling account with...
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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