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BEETHOVEN Piano Sonatas Nos 7, 13, 109-111

Early and late works make up the fifth and final volume of Paavali Jumppanen’s Beethoven sonata cycle. He brings a...

Reviewed by Jed Distler in issue: 01/2017

Elīna Garanča: Revive

The newest role Elı-na Garan∂a has added to her stage repertoire is Léonor in Donizetti’s La favorite. This recital, though,...

Reviewed by Hugo Shirley in issue: 01/2017

WAGNER Der Ring des Nibelungen

Rudolf Kempe (here caught in his second of four Bayreuth Ring years) is not a pusher nor a prodder nor...

Reviewed by Mike Ashman in issue: 01/2017

PERGOLESI Adriano in Siria

Pergolesi had weightier operatic ambitions than the buffet-sized buffo of La serva padrona. In 1734 he served up the elaborate...

Reviewed by Neil Fisher in issue: 01/2017

PAISIELLO Fedra

No, this is not Fedora. The Italian title masks the identity of Phaedra, wife of Theseus, whose passion for her...

Reviewed by Richard Lawrence in issue: 01/2017

NYMAN The Man Who Mistook his Wife for a Hat

Michael Nyman’s 1986 opera The Man Who Mistook His Wife for a Hat is, like other minimalist stage works, a...

Reviewed by Philip Kennicott in issue: 01/2017

Regula Mühlemann: Mozart Arias

For the near future Regula Mühlemann’s diary looks to be dominated by Bach and Mozart. The forthcoming concert performances of...

Reviewed by Richard Fairman in issue: 01/2017

KRENEK Orpheus und Eurydice

Can the Orpheus and Eurydice legend be dramatised without lyricism? Nowadays, in this pluralistic era where no single aesthetic reigns,...

Reviewed by David Patrick Stearns in issue: 01/2017

Filippo Mineccia: The Jommelli Album

The innovations of Niccolò Jommelli (1714 74) transformed mid-18th-century Italian opera just as much as Gluck’s slightly later so-called reforms,...

Reviewed by David Vickers in issue: 01/2017

GLASS Einstein on the Beach

Premiered in Avignon in August 1976, then toured across six European countries for two months before selling out New York’s...

Reviewed by Pwyll ap Siôn in issue: 01/2017

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