Review: Offenbach: Orphée aux Enfers ballet music (Deutsches Symphonie-Orchester Berlin/Griffiths)
First recording of long-lost ballet will please aficionados.
March 2, 2020
Review: Rachmaninov: Piano Concertos Nos 1 & 3 (Daniil Trifonov, The Philadelphia Orchestra/Nézet-Séguin)
Trifonov proves a passionate Rachmaninov advocate.
March 2, 2020
Review: Purcell: King Arthur (Gabrieli Consort & Players/McCreesh)
A King Arthur for our times from one of today’s great Purcellians.
March 2, 2020
Review: Weber: Der Freischütz (Frankfurt RSO/Janowski)
Zippy Freischütz leaves room for the odd thrill and spill.
March 2, 2020
Review: Mussorgsky: Boris Godunov (Gothenburg SO/Nagano)
‘Ur-Boris’ is richly played, strongly sung, superbly recorded.
March 2, 2020
Review: Wagner: Der Fliegende Holländer (Les Musiciens du Louvre/Minkowski)
A period-sound, Freudian Dutchman sails a complex sea.
March 2, 2020
Review: Dame Ethel Smyth: Mass in D (BBCSO/Oramo)
There’s nothing like this Dame! And there’s nothing like this Mass.
March 2, 2020
Review: The Giovanni Consort (McNamara/Lydon)
West Australian choir’s 24-year wait proves well worth it.
March 2, 2020
Review: Julia Wolfe: Fire In My Mouth (New York Philharmonic/Jaap van Zweden)
Wolfe delivers a powerful remembrance of a tragic event.
March 2, 2020
Review: Henze: The Raft of the Medusa (SWR Symphonieorchester/Péter Eötvös)
Second recording of Henze’s oratorio worth the wait.
February 25, 2020
Review: Schubert: Winterreise (Peter Mattei, Lars David Nilsson)
Wind from the north – Peter Mattei delivers a frosty winter’s journey.
February 25, 2020
Review: Beethoven: Piano Sonatas Volume 9 (Jonathan Biss)
A fine, felt, forcibly argued finish to a ripely individual survey.
February 25, 2020
Review: Roger Smalley: Piano, vocal and chamber music (Fiebig, Davie)
A dose of Smalley proves less can be considerably more.
February 25, 2020