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Delphine Galou: Agitata

This is a treasure trove of rare music, much of which must surely be receiving first recordings. Baroque opera has...

Reviewed by Lindsay Kemp in issue: 01/2018

SCHUBERT Winterreise (Bo Skovhus)

Not usually a paragon of moderation or elegance, Bo Skovhus has continued his traversal of Schubert Lieder with a Winterreise...

Reviewed by David Patrick Stearns in issue: 01/2018

RACHMANINOV All-night Vigil (Vasari Singers)

The Vasari Singers join an ever-expanding field with this new recording of a work that was once considered very exotic...

Reviewed by Ivan Moody in issue: 12/2017

Lyubov Petrova: Tchaikovsky & Rachmaninov Songs

With a half-Tchaikovsky, half-Rachmaninov programme, a Russian singer with an Anglo-friendly voice plus an even better pianist, this set is...

Reviewed by David Patrick Stearns in issue: 01/2018

99 Words

Five world premieres and a beautifully constructed programme make this disc from Suzi Digby and London chamber choir Voce rather...

Reviewed by Alexandra Coghlan in issue: 01/2018

LISZT Songs for Bass and Piano (Schwartz)

Liszt’s songs were all originally written for high or middle voices, and there has been a tendency of late, as...

Reviewed by Tim Ashley in issue: 12/2017

JANÁČEK Otčenáš KODÁLY Missa brevis POULENC Mass

The Mass settings of Kodály and Poulenc were composed within six years of each other (1937-42), and with mixed choirs...

Reviewed by Peter Quantrill in issue: 01/2018

HUGILL Quickening

Robert Hugill’s name may be familiar as the author of the classical music blog Planet Hugill, but he is also...

Reviewed by Guy Rickards in issue: 12/2017

HENZE Lieder vion einer Insel. Orpheus Behind the Wire

Choral music forms a not insignificant aspect of Henze’s output, these three cycles offering a viable (if inevitably partial) overview...

Reviewed by Richard Whitehouse in issue: 12/2017

Dorothee Mields: Handel

Handel for viola da gamba? Well yes, there is some, mainly from his early years in Italy, including obbligato parts...

Reviewed by Lindsay Kemp in issue: 01/2018

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