Review: Duet (Tamara-Anna Cislowska and guests)
A cavalcade of stars, “muso a muso”, capture the unguarded moment.
January 31, 2022
Review: Telemann: Violin Concertos Vol. 7 (Elizabeth Wallfisch, The Wallfisch Band)
Seventh time’s the charm in Wallfisch’s new Telemann concerto release.
January 29, 2022
Review: Scarlatti’s Steinways (Ian Holtham)
Two dozen of Scarlatti’s finest showcase the Melbourne Con’s Steinways.
January 28, 2022
Review: Reissues: Rafael Kubelík Mercury Masters & Complete Decca Recordings
Eloquence restores some landmarks in the history of recorded classical music.
January 27, 2022
Review: Early Moderns: the (very) First Viennese School (Quicksilver Baroque)
Roll over Beethoven, this was the real First Viennese School.
January 26, 2022
Review: Mariss Jansons: The Edition
Lavish, and in high-end audio, a 70-disc set reminds us of the genius that was Jansons.
January 25, 2022
Review: Mahler: Symphony No 6 (Dusseldorf Symphony Orchestra, Ádam Fischer)
A bleak end perhaps, but Ádam Fischer’s Mahler cycle is still a case for celebration.
January 24, 2022
Review: Lully: Atys (Les Arts Florissants, William Christie)
The production that kick-started the French Baroque revival is back in style.
January 21, 2022
Review: Labyrinths (Orchestra of the Swan, David Le Page)
Give yourself over to an orchestra’s unique mixtape.
January 20, 2022
Review: A Dust in Time (Del Sol String Quartet)
A heartfelt response to COVID isolation ardently, eloquently performed.
January 19, 2022
Review: Henze: Das Verratene Meer (Wiener Staatsoper, Simone Young)
Simone Young reveals the terrible beauty in Henze’s Mishima opera.
January 18, 2022
Review: Anima Æterna (Jakub Józef Orliński, Il Pomo d’Oro, Francesco Corti)
The breakdancing Polish countertenor delights in a program of rediscovered gems.
January 17, 2022
Review: Vivaldi: Cantata per soprano I (Arianna Vendittelli, Abchordis Ensemble, Andrea Buccarella)
Vivaldi for voice produces a chamber full of charms.
January 15, 2022