Book review - Pierre Boulez: Organised Delirium (by Caroline Potter)
Neither a biography of his early years, nor a close analysis of the pieces that blew up post-war...
‘I am not a Baroque player’, says Tasmin Little, and there’s nothing like laying your cards right out on the...
Reviewed by Richard Bratby in issue: 12/2016
When there are so many recordings of Vivaldi concertos to choose from, how do you know where to start? When...
Reviewed by Lindsay Kemp in issue: 12/2016
In my experience it’s fairly rare that conductors who excel in Dvořák’s first set of Slavonic Dances are quite as...
Reviewed by Rob Cowan in issue: 12/2016
John Adams coined the term ‘hypermelody’ to describe the solo part of his 1993 Violin Concerto, where ‘the violin spins...
Reviewed by Andrew Farach-Colton in issue: 12/2016
Here is the concluding instalment – Volume 3 – of Jean-Efflam Bavouzet’s chronological journey through the 32 Beethoven sonatas, a...
Reviewed by Stephen Plaistow in issue: 12/2016
'Oh, Boy!’ is Marianne Crebassa’s first album since she signed for Erato earlier this year. The French mezzo, who caused...
Reviewed by Tim Ashley in issue: 12/2016
This excellent exploration of the relationship between Lully and Molière derives from a stage show first seen in Reims last...
Reviewed by Tim Ashley in issue: 12/2016
Die Walküre’s popular but tricky First Act feels like an action piece because of its hectic beginning and ending. Yet...
Reviewed by Mike Ashman in issue: 12/2016
There’s a perverse irony that the only operatic role Gioachino Rossini wrote for a castrato – Arsace in Aureliano in...
Reviewed by Mark Pullinger in issue: 12/2016
Mozart composed La clemenza di Tito in great haste for the celebrations marking the coronation of the Habsburg emperor Leopold...
Reviewed by Richard Lawrence in issue: 12/2016
Neither a biography of his early years, nor a close analysis of the pieces that blew up post-war...
Morrison’s Tchaikovsky is a rationalist who rather enjoys himself and aspires to a Mozartian poise...
This Senofsky double pack is revelatory, especially Brahms’s Third Sonata, a thrilling account with...
These are engaging, spontaneous-sounding performances that if widely heard could well spark off a...
Richard Bratby charts the relationship between the conductor and his Italian orchestra
‘Mengelberg’s performances – like Furtwängler’s – were for the most part products of careful...
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