Review: Monteverdi: L’Orfeo (I Gemelli, Emiliano Gonzalez Toro)
The instrumental playing dazzles on this idiosyncratic new Orfeo.
Alexandra Coghlan is the classical music critic for the New Statesman, and also writes for The Independent, The Times, Opera, Prospect, Gramophone and The Monthly. She was formerly performing arts editor at Time Out Sydney and editor of Sinfini.
The instrumental playing dazzles on this idiosyncratic new Orfeo.
The queen of bel canto turns her attention to Donizetti's rival queens.
A charming debut from Britain's most talented family of musicians.
Ruby spawns three gems: Contrasting song-cycles showcase adaptable skills.
A heady musical journey around turn-of-the-century Vienna.
Music meets politics as French collide with their neighbours.
Mixed bag of Mozart from Nézet-Séguin’s ongoing series.
Starry musical soirée finds Kožená and Rattle at their most relaxed.
Egarr’s Easter egg – move over Bach, there’s a new Passion in town.
A solo debut of startling quality announcing a major new talent.
A bold anniversary tribute to Leonardo da Vinci.
Magnificent soundscapes from a neglected polychoral master.
Frothy piece of silliness given most stylish treatment.