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La Gracieuse - Pièces de Viole by Marin Marais

It was many years ago in Dartington, the early music haven where the Devon air is infused with the song...

Reviewed by Mark Seow in issue: AW2019

BRAUNFELS; PFITZNER The Romantic Piano Concerto Vol 79

One key aspect of Pfitzner’s endlessly fascinating Piano Concerto that immediately strikes home is its harmonic richness, especially with respect...

Reviewed by Rob Cowan in issue: AW2019

Anamorfosi

In Kafka’s Metamorphosis, Gregor Samsa may have woken up one morning to find that he had been transformed overnight into...

Reviewed by Edward Breen in issue: AW2019

Veronika Dzhioeva: Ritorna vincitor!

Though it clocks it at just under an hour, there’s plenty of bang for your buck in this high-voltage recital...

Reviewed by Neil Fisher in issue: AW2019

WEBER Oberon (Hofstetter)

How best to perform Oberon, Weber’s three-act Romantic opera crossed with Singspiel? It was originally sung in English, composed for...

Reviewed by Mark Pullinger in issue: AW2019

RUDERS The Thirteenth Child

The Thirteenth Child (2016) is Poul Ruders’s fifth opera and the third issued on disc. After The Handmaid’s Tale (1998;...

Reviewed by Guy Rickards in issue: AW2019

ROSSINI L’italiana in Algeri (Spinosi)

Cecilia Bartoli’s long established collaboration with stage directors Moshe Leiser and Patrice Caurier has yielded some memorable results but none...

Reviewed by Richard Osborne in issue: AW2019

Levy Sekgapane: Giovin fiamma

True Rossini tenors are a rare breed. Applicants require a light tenor, pingy top notes and florid ease through the...

Reviewed by Mark Pullinger in issue: AW2019

PUCCINI Le Willis (Elder)

When Opera Rara gave a concert performance of Puccini’s Le Villi in London in late 2018 with Mark Elder and...

Reviewed by Neil Fisher in issue: AW2019

MOZART Die Zauberflöte (Nézet-Séguin)

Six down, with Idomeneo – one hopes – still to come. Once again, Yannick Nézet-Séguin proves himself to be a...

Reviewed by Richard Lawrence in issue: AW2019

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