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Nina Stemme: Wagner

The Swedish soprano Nina Stemme is, of course, pre eminent among contemporary Wagnerian singers. But the market choices of today...

Reviewed by Mike Ashman in issue: 03/2018

VIVALDI Dorilla in Tempe (Fasolis)

The heroic-pastoral melodrama Dorilla in Tempe (Venice, 1726) was revived by Vivaldi in 1728 (Venice) and 1732 (Prague), but the...

Reviewed by David Vickers in issue: 03/2018

VERDI Rigoletto (Orbelian)

This new Rigoletto from Delos tragically serves as a valedictory recording. The death of Dmitri Hvorostovsky last November has robbed...

Reviewed by Mark Pullinger in issue: 03/2018

VERDI Otello (Foster)

Nikolai Schukoff is Austrian, Melody Moore and Lester Lynch are from the United States. Their names might be unfamiliar but...

Reviewed by Richard Lawrence in issue: 03/2018

VERDI Ernani

It’s difficult to understand why Verdi’s Ernani struggles to get performances. It hasn’t played at the Wiener Staatsoper since 2002...

Reviewed by Mark Pullinger in issue: 03/2018

TCHAIKOVSKY The Queen of Spades (Jansons)

Tchaikovsky identified closely with Herman, the anti-hero of his opera The Queen of Spades (Pique Dame), whose gambling addiction leads...

Reviewed by Mark Pullinger in issue: 03/2018

STRAUSS Der Rosenkavalier (Weigle)

Robert Carsen – in both this present staging and his previous essay (also on DVD: ArtHaus, 9/10) – is among...

Reviewed by Mike Ashman in issue: 03/2018

SCARTAZZINI Edward II

The most successful British operas of the last few years would suggest that a sizeable strand of the opera audience...

Reviewed by Andrew Mellor in issue: 03/2018

MOZART Lucio Silla (Minkowski)

Although this production of the teenage Mozart’s Lucia Silla was first seen at the Salzburg Festival in 2013, it was...

Reviewed by Hugo Shirley in issue: 03/2018

HANDEL Lotario (Cummings)

The libretto of Lotario (1729) was adapted from Orlandini’s Adelaide, which Handel had probably heard recently in Venice while recruiting...

Reviewed by David Vickers in issue: 03/2018

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