Brabbins croons a wonderful Foggy Day in London town.

The British violinist talks about her new Szymanowski and Karłowicz album, Limelight’s Recording of the Month. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Little Delivers a lot: The British violinist is all shine in polished Polish concertos.

The clue is in the title. Bellini’s ‘graduation opera’ Adelson e Salvini is more buffo bromance than tragic romance, and none the worse for it. Composed while he was still a student at Naples’ Royal College of Music, and premiered by an all-male cast of fellow students in 1825, the work is a precociously tuneful, intermittently dramatic affair (though the less said about the 17th-century Irish plot the better). Rossini and Mozart are plentifully represented here in the younger composer’s first opera, but there are also tantalising hints of the mature composer to come, and this premiere recording by Opera Rara does its youthful promise proud. Opera Rara know how to put together a cast, and this one’s no exception. Baritone Simone Alberghini (Lord Adelson) and tenor Enea Scala (his friend, the painter Salvini) battle for the affections of the magnificent Daniela Barcellona’s Nelly – richly resonant, painting her vocal lines with the thickest of brush-strokes – while Maurizio Muraro blusters and booms characterfully as the Leporello-ish manservant Bonifacio. Rising young conductor Daniele Rustioni shapes an affectionate and lightfooted account of the score, deploying some lovely solo woodwind textures (skittish flutes for Bonifacio, melancholic oboes for Nelly’s… Continue reading Get…

Missing in Action no more: Albion Records restores a fistful of revelatory scores by Ralph Vaughan Williams.

Every British conductor worth his or her salt has recorded the symphony, as have Solti, Barenboim, Slatkin, Ashkenazy and Sinopoli. The trick with Elgar, especially in this symphony, is to avoid lugubriousness and Gardner manages well getting the piece off to a quiet and measured start. The transition from the well-performed Scherzo into the slow movement is handled perfectly. However, after listening to Barbirolli’s beautifully nuanced recording, the ordinariness of this newcomer is clear. Sir John’s is the one to beat. Of the other performances I sampled all were of a very high standard. There is Boult, of course, and a splendid version from Mackerras and the LSO; he gets great feeling into the noblimente theme. Then there is the remarkable recording Colin Davis made with the Dresden Staatskapelle in 1997. The power of the German orchestra, its heft and discipline, is remarkable and it blows the competition out of the water. In this field, a new recording must stand tall and this one is a bit average. The Introduction and Allegro is long recognised as a virtuoso piece for string orchestra and there are no shortages of… Continue reading Get unlimited digital access from $4 per month Subscribe Already…

The Czech conductor, best known for his recordings of Janáček, Smetana, Dvořák, Suk and Martinů, has passed away aged 71.

A fascinating celebration of seemingly strange bedfellows.

Curious fact: at one time Leoncavallo’s Zazà outstripped Pagliacci for popularity.

If you saw David Robertson’s masterful concert version of Tristan und Isolde with the Sydney Symphony Orchestra earlier in the year you would be familiar with the compelling singing of US soprano Christine Brewer in the title role. Here she is 13 years earlier in an equally powerful performance recorded live at London’s Barbican Centre under the masterful baton of Scottish conductor Donald Runnicles. Celebrated English tenor John Treleaven is a superbly convincing Tristan and there is a great chemistry between the pair. His is a many-layered performance as our hero runs the gamut of emotions over four exhausting hours. This stellar partnership is complemented by Czech mezzo Dagmar Pecková – a star in her own right and with an asteroid named after her to prove it – as Brangane and British bass Pete Rose gives King Mark’s big aria, Tatest du’s wirklich, a finely expressive reading with his nuanced timbre. Jared Holt makes a fine Melot as well. Israeli baritone Boaz Daniel impressed as Tristan’s faithful servant Kurwenal in Sydney and he does the same on this disc. Runnicles and the BBC Symphony are in fine form… Continue reading Get unlimited digital access from $4 per month Subscribe Already…

Beware opening doors to a dark soul within, says our critic of a Boulez-Bartók marriage. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

★★★★☆ Interested in the contenders for the bulkiest opera of all time? Look no further than Havergal Brian’s The Tigers. Yes, if you thought his Gothic Symphony was impractical you ain’t seen nothing yet! Composed between 1917 and 1919, and scored for massive orchestra (including five tubas, harmonica, three timpani players, thunder machine, ship’s siren, two vibraphones, tubaphone(!) and organ), the work has never been staged. The full score was lost until the Brian Society put out a reward for its recovery, and the plucky BBC made a radio recording back in 1983. That performance, thanks to Testament, is now available on three discs. The opera concerns the (at times mystifying) bumbling antics of a regiment known as The Tigers on manoeuvres in the Home Counties. But Brian isn’t just offering a semi-Straussian comic opera. There are dream ballets for gargoyles come to life, a commedia dell’arte fantasy and the massive opening scene on Hampstead Heath (which calls for an elephant!) culminates in a huge set of orchestral variations on Has Anybody Here Seen Kelly. Ambitious! The fine cast comprises many of the top British singers of the day (including the likes of Teresa Cahill, Marilyn Hill-Smith, Alan Opie and…