Review: Liszt: Dante Symphony, Künstlerfestzug (Staatskapelle Weimar, Karabits)
Karabits’ Weimar forces deliver more incendiary Liszt advocacy.
Michael Quinn is a former theatre director and BBC Radio Drama producer who writes about classical music, opera and theatre. A former Deputy Editor of Gramophone, he is obituaries editor for The Stage, booklet editor for SOMM Recordings, and programming consultant to Northern Ireland’s newest arts centre, The Portico of Ards.
Karabits’ Weimar forces deliver more incendiary Liszt advocacy.
Donohoe rehabilitates neglected music with revelatory playing.
Strangers no more: Tishchenko’s CD debut announces a remarkable talent.
Melnikov’s probing Prokofiev goes from strength to strength.
First recording of long-lost ballet will please aficionados.
Trifonov proves a passionate Rachmaninov advocate.
‘Ur-Boris’ is richly played, strongly sung, superbly recorded.
A fine, felt, forcibly argued finish to a ripely individual survey.
Kolesnikov stakes claim as Chopin interpreter of insight.
Levit goes full cycle – pianist stakes his claim as a Beethovenian for contemporary ears.
It’s Haydn, but not as you’ve ever heard him before.
Berlin’s new broom – thrilling Pathétique announces formidable partnership.
Expressive playing makes up for misleading title.