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DVOŘÁK Slavonic Dances Opp 46 & 72

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

ADAMS; HARRIS Violin Concertos

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

BEETHOVEN Piano Sonatas Nos 22-32 (Bavouzet)

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

Marianne Crebassa: Oh, Boy!

'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

Molière at the Opera

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

WAGNER Die Walküre - Act 1

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

Franco Fagioli : Rossini

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 La Clemenza di Tito

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

Mitologia

‘Mitologia’ runs the title of the late Alan Curtis’s final Handel recording, a sequence of arias and duets on mythological...

Reviewed by Richard Wigmore in issue: 12/2016

CALDARA The Cervantes Operas

The Spanish ensemble La Ritirata and its Artistic Director (and cellist) Josetxu Obregón present an ingenious programme that simultaneously celebrates...

Reviewed by David Vickers in issue: 12/2016

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