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...
If these are bad films, as they surely are, then at least they are bad in a thoroughly old-fashioned way....
Reviewed in issue 4/1998
Of the opera sets which Callas remade for EMI (Norma and Tosca being the others), Lucia is the one in...
Reviewed in issue 10/1989
To call a performance “well made” might seem like a half-hearted compliment but in the case of Thomas Dausgaard's account...
Reviewed by Rob Cowan in issue: 5/2008
The first (and I suppose, for the forseeable future, last) British performance of Dargomizhsky's The Stone Guest in April 1987...
Reviewed by John Warrack in issue: 1/1989
At the end of 2000, Calliope issued a fascinating CD in which Yakov Kasman and Emmanuel Leducq-Barome were teamed with...
Reviewed by David Gutman in issue: 11/2002
A word about nomenclature. Holmboe composed 13 chamber concertos between 1939 and 1956 as a series with small-orchestral accompaniment, similar...
Reviewed by Guy Rickards in issue: 4/2005
At the beginning Don Quichotte looks all set to be Massenet's Falstaff. It was not his final opera, but it...
Reviewed in issue 4/1992
One good reason to want this disc is the clear, beautifully balanced and vernally fresh playing of the Mozart; another...
Reviewed by John Duarte in issue: 3/1987
If you turned the radio dials and stumbled across Paul Schoenfield’s Four Parables, written in 1983, it would be perfectly...
Reviewed by Philip_Clark in issue: 12/2007
After its disastrous La Scala première in 1904‚ Madama Butterfly was hastily revised for its triumphant vindication at Brescia only...
Reviewed in issue 8/2002
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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