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RAVEL L'Enfant et les sortilèges DEBUSSY L'Enfant Prodigue

Not just one but two naughty boys here. Rather than pair Ravel’s L’enfant et les sortilèges with L’heure espagnole, Warner...

Reviewed by Mark Pullinger in issue: 06/2017

PUCCINI Tosca

Although it was the first to be recorded, this Tosca is the third of Karajan’s Puccini sets on Decca to...

Reviewed by Hugo Shirley in issue: 06/2017

LULLY Persée 1770

The first production of Lully’s Persée (Paris, 1682) took place the same year that Louis XIV moved into his new...

Reviewed by David Vickers in issue: 06/2017

JOUBERT Jane Eyre

There’s some disagreement as to whether Jane Eyre is John Joubert’s seventh or eighth opera but, either way, he is...

Reviewed by Andrew Mellor in issue: 06/2017

DONIZETTI Olivo e Pasquale

Apart from that operatic charmer L’elisir d’amore, I’ve come to the sad conclusion that Donizetti comedies are just not that...

Reviewed by Mark Pullinger in issue: 06/2017

CESTI L'Orontea

Cesti’s L’Orontea, first performed in 1656, was immensely popular in its time. The easy appeal of its adroit manipulation of...

Reviewed by Iain Fenlon in issue: 06/2017

BOLDEMANN Black is White – Said the Emperor

How timely that a recording of Laci Boldemann’s first opera, a satire on totalitarianism told through the story of an...

Reviewed by Andrew Mellor in issue: 06/2017

Sacred Treasures of England

The London Oratory Schola Cantorum Boys Choir sing weekly in the generous acoustic of the Brompton Oratory and the music...

Reviewed by Edward Breen in issue: 06/2017

Rímur: Chants, hymns, folk songs and improvisations

We will never know, write Trio Mediaeval in the booklet, what the innumerable ancient songs and tunes of the first...

Reviewed by Andrew Mellor in issue: 06/2017

A New Heaven

The Choir of The Queen’s College, Oxford, sing with tonal warmth, excellent tuning, impressive blend and without the clipped, prissy...

Reviewed by Andrew Mellor in issue: 06/2017

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