Reviews
Review: Bartók: Concerto for Orchestra, etc (WDR Sinfonieorchester/Mǎcelaru)
Misha Donat is impressed by the exhilarating energy of these personality-filled performances
Review: Contes (Sandrine Piau / David Kadouch)
Sandrine Piau and David Kadouch are
enchanting storytellers, writes Natasha Loges
Review: Sturm und Drang, Vol. 4 (The Mozartists/Ian Page)
Michael Jameson hails the latest in Ian Page’s increasingly unmissable Sturm und Drang project
Review: Metanoia (Yulianna Avdeeva plays Liszt)
Malcolm Hayes is captivated by pianist Yulianna Avdeeva’s phenomenal technique and perceptive account of Liszt’s late music
Review: Guys and Dolls (Sinfonia of London/John Wilson et al)
Loesser’s Guys and Dolls is performed with colour and character by all, writes George Hall
What's new?
Review: Saint-Saëns: Piano Concertos 2 & 5 (Trpčeski/RSNO/Søndergård)
Simon Trpčeski is warm and nimble in these two mercurial piano concertos, says Geoff Brown
Review: Schumann: Das Paradies und die Peri (Le Concert des Nations, etc/Jordi Savall)
Ashutosh Khandekar is captivated by Jordi Savall’s take on Schumann’s secular oratorio, Das Paradies und die Peri
Review: Piano Postcards (Stephen Hough)
Stephen Hough’s musical trip around the world is delightful, evocative listening, says Rebecca Franks
Review: Alma y Fuego (Simón Bolívar SO/Dudamel)
This refined 150th-anniversary tribute is a triumph, writes Erik Levi
Review: Schubert Late String Quartets (Zemlinsky Quartet)
The Zemlinsky Quartet conquer a titanic masterpiece, writes Michael Jameson
Chamber
Review: Gay Guerrilla: Julius Eastman, Volume 5
Wild Up’s fifth volume of Julius Eastman works is soulfully performed, writes Claire Jackson
Review: East Meets West (Anne-Sophie Mutter et al)
Anne-Sophie Mutter’s album of commissions is beautifully conceived, writes Martin Cotton
Review: Adorations (Isidore Quartet)
The Isidore Quartet are beautifully attuned in these chamber works by Haydn, Barber, Mendelssohn and Price, writes Misha Donat
Choral & Song
Review: German Opera Scenes and Arias (Malin Byström, soprano et al)
Malin Byström gives searingly dramatic
performances, writes Christopher Cook

Review: Handel: Messiah (Irish Baroque Orchestra et al)
This terrific recording boasts a lively chorus
and top-rate soloists, writes Nicholas Anderson

Review: Lead, Kindly Light (The Sixteen)
Concerto
Review: Vivaldi: Concerti per vari strumenti II
Vivaldi’s wit and invention shines bright in this vivacious volume, writes Nicholas Anderson

Review: Beyond Vivaldi (Evangelina Mascardi et al)
Evangelina Mascardi is an elegant advocate for her instrument, writes Kate Bolton-Porciatti

Review: Prophecy (Ksenija Sidorova et al)
Three Baltic composers are admirably served on this engaging album, writes Jan Smaczny
Instrumental
Review: Bach: Six Suites (Marc Sabbah, viola)
Marc Sabbah is superbly eloquent in the Cello Suites, says Jan Smaczny
Review: Schubert • Schumann (Arcadi Volodos, piano)
Arcadi Volodos plays with emotional transparency, notes Michael Church

Review: Schumann: Fantasie, etc (Nikolai Lugansky)
Nikolai Lugansky brings an orchestral richness to Robert Schumann, writes Jessica Duchen
Opera

Review: Hartmann: Esther (Bournemouth Symphony Orchestra/Karabits et al)
Hartmann’s score pulses with moral drama and unrelenting energy, says Ashutosh Khandekar

Review: My Fair Lady (Sinfonia of London / John Wilson)
This new studio recording from the Sinfonia of London and its music director John Wilson gives you the original theatrical score complete

Review: Rameau – Platée
Berta Joncus enjoys a 2024 Versailles take on Rameau’s rarely recorded Platée
Orchestral
Review: Shostakovich: Symphony No. 1, etc (Philharmonia/Rouvali)
Rouvali’s daring recording brings early Shostakovich to life, says Erik Levi
Review: Pärt - Symphonies (Iceland Symphony Orchestra/Eva Ollikainen)
The Iceland Symphony Orchestra is wonderful in
Arvo Pärt symphonies, writes Michael Church

Review: Huw Watkins: Symphony No. 2, etc (Hallé / Mark Elder)
Mark Elder and the Hallé expertly showcase
Huw Watkins’s delightful works, notes Geoff Brown
