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GETTY The Canterville Ghost

Despite its conventionally sentimental conclusion, most of Oscar Wilde’s The Canterville Ghost is a laugh-out-loud satire on the foibles of an American family...

Reviewed by Philip Kennicott in issue: AW17

CHARPENTIER La descente d’Orphée aux Enfers

This recording of La descente d’Orphée aux Enfers, Charpentier’s two-act operatic fragment dating from the mid-1680s, eloquently brings to life...

Reviewed by Julie Anne Sadie in issue: AW17

BELLINI Bianca e Gernando

Here’s an operatic ‘first’ from the Rossini in Wildbad festival which isn’t by the Swan of Pesaro himself. Bianca e...

Reviewed by Mark Pullinger in issue: AW17

Nature and the Soul

This is a collection of Latvian choral music selected in honour of the centenary of the independence of Latvia. As...

Reviewed by Ivan Moody in issue: AW17

Joo Yeon Sir: Suites and Fantasies

You won’t find any biographical information about Joo Yeon Sir in Rubicon’s basic booklet: you are kindly referred to...

Reviewed by Mark Pullinger in issue: 09/2017

From Vienna

This is a generously filled set, and at first glance the idea is appealing – a disc of chamber music...

Reviewed by Richard Bratby in issue: 09/2017

Flux: Original Works for Saxophone Quartet

I’m not sure it’s possible for a saxophone quartet to be a warhorse, as such; nonetheless, I was initially mildly...

Reviewed by Richard Bratby in issue: 09/2017

Avital Meets Avital

Billed as ‘classical crossover’, there is nothing classical about ‘Avital Meets Avital’ – unless you count the fact that Avi...

Reviewed by William Yeoman in issue: 09/2017

The Alehouse Sessions: Traditional Tunes and Arrangements

There are some things you just can’t fake. The chemistry of a group is one of those – the sparks...

Reviewed by Alexandra Coghlan in issue: 09/2017

REGER Clarinet Sonatas

A cautionary tale, courtesy of Nicholas Marston’s booklet note: Reger bartered the dedication of his First Clarinet Sonata to a...

Reviewed by Peter Quantrill in issue: 09/2017

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