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WAGNER Die Fliegende Holländer (Heras-Casado)

In a short booklet essay, the director of this Fliegende Holländer, Àlex Ollé, tells us that he and his creative...

Reviewed by Hugo Shirley in issue: 01/2018

STRAUSS Salome (Orozco-Estrada)

With a coupling of Ein Heldenleben and Macbeth released on Pentatone last year (11/16), Andrés Orozco-Estrada and the Frankfurt Radio...

Reviewed by Hugo Shirley in issue: 01/2018

SCHOENBERG Moses und Aron

At least my colleague David Patrick Stearns will be pleased. He eagerly anticipated the release of this film in his...

Reviewed by Peter Quantrill in issue: 01/2018

SAARIAHO Only the Sound Remains

One part of the booklet describes Kaija Saariaho’s Only the Sound Remains as ‘two Noh plays’ and another ‘two short...

Reviewed by Andrew Mellor in issue: 01/2018

Marina Rebeka: Amor fatale - Rossini Arias

After a Mozart disc, given a guarded welcome by Richard Wigmore in these pages (Warner Classics, 10/14), the Latvian soprano...

Reviewed by Hugo Shirley in issue: 12/2017

RAMEAU Les Indes Galantes (Bolton)

It’s such a simple solution that it’s hard to believe it has taken this long for the opera world to...

Reviewed by Alexandra Coghlan in issue: 01/2018

PUCCINI Tosca (Rattle)

‘Ecco un artista’ says Tosca as her boyfriend flops to the floor, in fact mortally wounded and not showing any...

Reviewed by Neil Fisher in issue: 12/2017

MOZART Don Giovanni (Rhorer)

Jérémie Rhorer and his lively period forces won plaudits in these pages and elsewhere for their Paris recordings of Die...

Reviewed by Richard Wigmore in issue: 01/2018

HANDEL Silla (Lucio Cornelio Silla)

The plot of Handel’s early London opera Silla (1713) concerns the dissolute and ruthless Roman dictator Lucius Cornelius Sulla, whose...

Reviewed by David Vickers in issue: 01/2018

GODARD Dante

Guelphs and Ghibellines, a plea for unity from the hero: but we are in Dante’s Florence rather than Simon Boccanegra’s...

Reviewed by Richard Lawrence in issue: 12/2017

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