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KAYE Time is the Sea We Swim In

The compositional catalogue of New York-resident Debra Kaye runs to around 70 works, ranging from orchestral and instrumental works to...

Reviewed by Guy Rickards in issue: 05/2024

BEACH; CORIGLIANO Violin Sonatas (Usha Kapoor)

The coupling is one of contrasts, much as an album of Richard Strauss and Stravinsky would present. While it’s perfectly...

Reviewed by Peter Quantrill in issue: 05/2024

Michael Spyres: In The Shadows

We’ve got used to the fact that Michael Spyres albums take us on unexpected journeys, often with unexpected diversions on...

Reviewed by Hugo Shirley in issue: 04/2024

WAGNER Parsifal (Jordan)

Stage+ hosts the film of this Russian-prison Parsifal, directed (via Zoom) by Kirill Serebrennikov in Vienna in 2021. Anyone discomfited...

Reviewed by Peter Quantrill in issue: 04/2024

SAINT-SAËNS Samson et Delila (Pappano)

Richard Jones’s production of Samson et Dalila polarised opinion when it opened at Covent Garden in 2022. I didn’t see...

Reviewed by Tim Ashley in issue: 04/2024

LULLY Atys (Rousset)

It was with Atys, staged and recorded in 1987 by William Christie and Les Arts Florissants to mark the tercentenary...

Reviewed by Richard Lawrence in issue: 04/2024

HANDEL Alcina (Minkowski)

Alcina was first staged on April 16, 1735, at John Rich’s new theatre at Covent Garden, where it ran for...

Reviewed by Richard Lawrence in issue: 04/2024

DONIZETTI Chiara e Serafina (Quatrini)

As revivals of forgotten operas go this is a gem: a clever staging, finely sung, of an opera that owes...

Reviewed by Richard Osborne in issue: 04/2024

Veronique Gens: Paysage

French vocal music could not have a finer ambassador’ was how I closed my citation for our Artist of the...

Reviewed by Mark Pullinger in issue: 04/2024

New Millennium

Between 2007 and 2022 Andrew Nethsingha raised the already high standard of the Chapel Choir of St John’s College, Cambridge,...

Reviewed by Malcolm Riley in issue: 04/2024

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