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...
There are two printed sources of the St Mark Passion libretto but its music is completely lost. Since the 1870s...
Reviewed by David Vickers in issue: 06/2019
Weber’s Der Freischütz rarely gets productions outside of Germany and Austria, so Matthias Hartmann’s 2017 staging for La Scala, Milan,...
Reviewed by Mark Pullinger in issue: 06/2019
Rossini’s sublimely amusing late comedy Le Comte Ory is very much a game of two halves, the second act being...
Reviewed by Richard Osborne in issue: 06/2019
The first thing to say is that this is quite excellent, well up to the standard of the two previous...
Reviewed by Richard Lawrence in issue: 06/2019
Taped in concert in Bonn in 2016, this is the second recording of Piazzolla’s operita to appear in just over...
Reviewed by Tim Ashley in issue: 06/2019
At the height of the Munich carnival a penniless artist falls in love with a princess in disguise: 1917 must...
Reviewed by Richard Bratby in issue: 06/2019
Plenty of live performances, a handful of DVDs – but the long-term presence in the record catalogues of two much-admired...
Reviewed by Mike Ashman in issue: 06/2019
There’s a little bit about the background to The Angel of Nisida (an island off Naples) in my article on...
Reviewed by Richard Lawrence in issue: 06/2019
melodrama? Like poor Elvira, betrothed to an uninteresting Puritan but drawn to the riskier chap with the fancy hat and...
Reviewed by Neil Fisher in issue: 05/2019
For Naxos’s booklet to describe La Sirène (1844) as Auber’s 14th most popular work hardly raises expectations. But this little...
Reviewed by Hugo Shirley in issue: 06/2019
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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