Rameau: Castor & Pollux

As with Mozart, so with Rameau. When you’ve heard several operas (or even the same one several times) it’s easy to forget how brilliant they are. However, this recording offers a stimulus for renewed admiration by using the 1754 re-working of the 1737 original [...]

András Schiff plays Schubert

The two discs inside this simple cardboard box come in blank white card covers. It took my simple intelligence a while to fathom out which disc was which, before I realised that there was one small centimetre long stripe on one side of one cover, and two on the other! [...]


Ann Hallenberg S, Il Pomo d’Oro, Riccardo Minasi 74:34 deutsche harmonia mundi 88875053982 Arias by K. [...]

Mozart: La finta giardiniera

For long regarded simply as a precursor of the great comic operas of Mozart’s maturity, La finta giardiniera has more recently shown increasing signs of being accepted into the repertoire. Last year’s first-ever staging at Glyndebourne was mirrored across the Channel by this co-production mounted in Lille and Dijon. [...]

Christian Ernst Graf: Five String Quartets

There are five works on this CD; three are from the composer's op. 17 set "à Deux Violons, Taille et Basse" and played with harpsichord continuo, and two quartets without opus number (though given numbers 4 in D and 6 in F), played as string quartets. [...]

Aashenayi: Rencontre musicale en terre Ottomane

The listener who is anticipating a presentation of authentic studies supported by derivations and reference to manuscripts may search the booklet notes in vain. Clues as to the nature of this recording are found in the translation of Aashenayikey as ‘encounter’ in Persian (becoming familiar with each other); [...]

Cavalli: L’Ormindo

There is a dearth of recordings of L’Ormindo, only this version recorded in 2006 and the old Raymond Leppard Glyndebourne arrangement dating from 1967. Perhaps the success of the staging of the Royal Opera’s English language version under Christian Curnyn at the Globe has encouraged the publishers? [...]

Bach: Motets

These performances were taped during sessions in May 2012, 2013 and 2014 with the same "men" (seven altos, ten tenors and eight basses) but a slightly different group of two dozen or so boys and three different organists, though the same cello and violone players. [...]

Weber: Silvana

An opera in which the heroine doesn’t sing? Well, I suppose many of us will have experienced performances that inspired the feeling that it might be an improvement, but this is the only example I know of where the part was written in such a way. The first of Weber’s operas to achieve some success, Silvana has its roots in the composer’s first operatic venture, Das Waldmädchen of 1800. [...]
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