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...
Crespin's distinction is best savoured in the Sleepwalking scene. Lady Macbeth's haunted mind becomes the very substance of the voice,...
Reviewed in issue 1/1989
This isn’t just another Rasumovsky recording: the Brodskys manage to sound thoroughly individual without ever seeming eccentric or one-sided. They...
Reviewed by DuncanDruce in issue: 7/2006
It is fascinating to compare this 2008 recording of Music for Strings, Percussion and Celesta with the one that Kocsis...
Reviewed by Rob Cowan in issue: 13/2010
It is now 37 years since Van Cliburn – described in 1958 by Time magazine in honest-to-goodness vulgarity as “Liberace...
Reviewed by Bryce Morrison in issue: 8/1996
Schiotz’s singing was always the very epitome of silvery elegance. A Danish tenor in the mould of Britain’s Heddle Nash...
Reviewed by Alan Blyth in issue: 2/1997
It has become harder for interpreters to make their mark in what has become standard fare, yet both these conductors...
Reviewed by David Gutman in issue: 1/2006
This is a very mixed bag – understandably so in that the time-span by composition date is some 20 years....
Reviewed by Arnold Whittall in issue: 4/1999
Ruth Ann Swenson made something of a sensation with her brilliantly sung and vivaciously acted Semele at the last Covent...
Reviewed by Stanley Sadie in issue: 10/1999
Nikolaj Znaider’s high-calibre artistry is tellingly exemplified by the second subject of Mendelssohn’s first movement (3’09” into track 1) where...
Reviewed by Rob Cowan in issue: 12/2005
How, I wonder, would Gustav Mahler have reacted to the implied attention-deficit at the quiet start of one of his...
Reviewed by Rob Cowan in issue: 10/2011
Neither a biography of his early years, nor a close analysis of the pieces that blew up post-war...
This Senofsky double pack is revelatory, especially Brahms’s Third Sonata, a thrilling account with...
Morrison’s Tchaikovsky is a rationalist who rather enjoys himself and aspires to a Mozartian poise...
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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