Review: Stravinsky: Perséphone (Esa-Pekka Salonen)
Salonen celebrates Stravinsky at his most lushly neoclassical.
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.
Salonen celebrates Stravinsky at his most lushly neoclassical.
Pyrotechnics from baroque’s most passionate mezzo-soprano.
Gluck’s Orfeo gets an Italian accent courtesy of Diego Fasolis.
Handel’s tyrants, kings and fathers brought to musical life.
Nymphs and shepherds more than live up to pastoral promise.
A new foray into Schubert Lieder proves an ideal partnership.
Frozen, pitted surface of Padmore’s new Winterreise proves hard to crack.
Too much blood and not enough thunder in Gheorghiu’s verismo.
Sweet dreams from rising bel canto star who is pretty much the real deal.
Chamber recital from Scholl and friends brings out best in both.
The Peruvian star sets his sights on Mozart with mixed results.
Blowing the dust off the duet is a delight from start to finish.
This 18th-century musical party is full of colours and thrills.