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Francesca Aspromonte : Prologue

Starting with the earliest Italian operas, the prologue occupied the important function of preparing the audience for the main business,...

Reviewed by Iain Fenlon in issue: 08/2018

Archetypon

Medea, Euridice, Alceste, Andromeda: the women that people Mary-Ellen Nesi’s first solo disc might all be Classical characters but, far...

Reviewed by Alexandra Coghlan in issue: 08/2018

VERDI Otello (Pappano)

Long before Keith Warner’s new production of Otello opened at the Royal Opera House, there was concern whether Jonas Kaufmann...

Reviewed by Hugo Shirley in issue: 08/2018

RAMEAU Naïs (Vashegyi)

October 18, 1748, saw the signing of the Treaty of Aix-la-Chapelle, so ending the War of the Austrian Succession. This...

Reviewed by Richard Lawrence in issue: 08/2018

PUCCINI Il tabarro (de Billy)

The first ‘panel’ of Puccini’s Trittico is arguably the closest that the composer came to verismo. It’s concise, unredemptive and...

Reviewed by Hugo Shirley in issue: 08/2018

MOZART Lucio Silla (Bolton)

It’s not even six months since I welcomed Marshall Pynkoski’s production of Lucio Silla from Milan. Now comes another DVD/Blu...

Reviewed by Hugo Shirley in issue: 08/2018

HANDEL Finest Arias for Bass Voice (Christopher Purves)

There may not be as many showstoppers here as on Christopher Purves’s first volume of ‘Handel’s Finest Arias for Base...

Reviewed by Richard Wigmore in issue: 08/2018

HANDEL 'Enemies in Love'

One wonders how many Juilliard graduates are breakdancing acrobats with a sideline in modelling. Nevertheless, it is the nuanced singing...

Reviewed by David Vickers in issue: 08/2018

GLUCK Orfeo ed Euridice (Fasolis)

If Gluck’s Orfeo was slow to catch on in Vienna, the city of its premiere, it enjoyed repeated success south...

Reviewed by Richard Wigmore in issue: 08/2018

CHARPENTIER La descente d’Orphée aux Enfers (Khalil)

One way or another, Charpentier’s miniature opera La descente d’Orphée aux enfers is incomplete: either there’s a third act missing...

Reviewed by Lindsay Kemp in issue: 08/2018

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