Review: Ginastera: Harp Concerto, Variaciones Concertantes (Sidsel Walstad, Norwegian Radio Orchestra/Harth-Bedoya)
Norwegian band heads south for a pair of hot Latin discoveries.
March 4, 2020
Review: Prokofiev: Lieutenant Kijé, Alexander Nevsky (Utah Symphony Orchestra/Fischer)
Utah forces excel in both national epic and Czarist bureaucracy.
March 4, 2020
Review: Ives: Symphonies Nos 3 & 4 (San Francisco Symphony & Chorus/Michael Tilson Thomas)
Charles Ives with Hymns Ancient and Very Modern.
March 2, 2020
Review: Eisler: Leipzig Symphony (MDR Orchestra Leipzig, Kammersymphonie Berlin/Bruns)
Music with passion and point from a German in Hollywood.
March 2, 2020
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