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ELLINGTON Sacred Concerts

What we need at this point in the game – especially as Duke Ellington’s Third Sacred Concert, recorded in Westminster...

Reviewed by Philip Clark in issue: AW16

BRAHMS Lieder & Liebeslieder Waltzes

Though Brahms’s two sets of Liebeslieder-Walzer were conceived with the domestic market in mind, they have inevitably attracted starry quartets...

Reviewed by Hugo Shirley in issue: AW16

L BERKELEY Stabat Mater

The five discs The Marian Consort have so far released focus on music written between the 15th and 17th centuries,...

Reviewed by Marc Rochester in issue: AW16

SHCHEDRIN The Left-Hander

This is the opera that gained notoriety at its UK concert premiere at London’s Barbican, when Gergiev turned up an...

Reviewed by David Fanning in issue: AW16

Karine Deshayes: Rossini Arias

Few 19th-century composers wrote for mezzo-sopranos quite as brilliantly as Rossini and few mezzo-sopranos can resist embracing Rossini’s vocal pyrotechnics...

Reviewed by Mark Pullinger in issue: AW16

MOZART Le nozze di Figaro

Sven-Eric Bechtolf, the drama director of the Salzburg Festival, has been tackling the Mozart/da Ponte comedies in reverse order. Figaro...

Reviewed by Richard Lawrence in issue: AW16

FIBICH The Bride of Messina

‘Cursed be your secretiveness, which is to blame for everything that has happened!’ Don César rails against his mother in...

Reviewed by Mark Pullinger in issue: AW16

DEBUSSY La chute de la maison Usher. Le diable dans le beffroi

For the last 16 years of his life, Debussy worked intermittently on a pair of one-act operas based on the...

Reviewed by Tim Ashley in issue: AW16

BEETHOVEN Fidelio

This Fidelio was among the high-profile offerings at the 2015 Salzburg Festival. Jonas Kaufmann led the cast with the excellent...

Reviewed by Hugo Shirley in issue: AW16

Gaudeamus Igitur

The organ of the McEwan Hall, University of Edinburgh, is now back in action after a major overhaul. Built in...

Reviewed by Jeremy Nicholas in issue: AW16

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