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Lawrence Brownlee: Allegro io son

'Simple but not unintelligent’ is how tenor Lawrence Brownlee describes his L’elisir d’amore character Nemorino, which summarises his approach to...

Reviewed by David Patrick Stearns in issue: 01/2017

CHISHOLM Simoon

Composer, pianist, conductor, concert promoter and educator Erik Chisholm never had the attention he deserved, not at home in Scotland...

Reviewed by Kate Molleson in issue: 01/2017

BERG Lulu

Far from the monstrous doll figure of Lulus past and present, Marlis Petersen gave the Met audience a Lulu they...

Reviewed by Peter Quantrill in issue: 01/2017

Mena: Under the Shadow

The test of a good crossover record is surely a simple one: does its fusion of genres amplify both of...

Reviewed by Alexandra Coghlan in issue: 01/2017

Anne Sofie von Otter: So Many Thanks

This mix of songs by pop/jazz composers who have worked with the classics, and vice versa, goes further than mere...

Reviewed by Mike Ashman in issue: 01/2017

Out of the Shadows: Rediscovered American Art songs

Lisa Delan has put together an enjoyable and valuable programme here. These are songs one hears rarely, if at all;...

Reviewed by Andrew Farach-Colton in issue: 01/2017

The Franklin Effect

Rosalind Franklin (1920-58) was one of the 20th century’s most important scientists but she was deprived of her moment in...

Reviewed by Guy Rickards in issue: 01/2017

Femina Moderna

Allmänna Sången was founded as an academic male-voice choir in the Swedish university city of Uppsala way back in 1830....

Reviewed by Andrew Mellor in issue: 01/2017

Jessye Norman: Lieder

This is a fascinating and rewarding recital, which shows Jessye Norman’s considerable strengths as well as a few idiosyncrasies –...

Reviewed by Hugo Shirley in issue: 01/2017

VAN DIEREN Symphony No 1

Rotterdam-born Bernard van Dieren (1887-1936) settled during his early twenties in London, where his music enjoyed vociferous support from the...

Reviewed by Andrew Achenbach in issue: 01/2017

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