Category: Reviews

Here is a Turandot to watch with the sound offónot because the singers misfire so badly, although no one really impresses.

The theme of the third volume of Hyperionís set of the Complete Songs of Gabriel FaurÈ (1845-1924) is Chanson díamour, which takes its name from a piece in the composerís opus 27 set ñ a compilation devoted to the love song.

There is little doubt about the popularity of Eric Whitacreís music among North American choral ensembles. With the release of this Hyperion disc, the international choral scene may soon become enamored as well.

Before you watch this DVD, the best thing you can do is read the sleeve notes. They are brief but to the point; and they succinctly tell you the differences between this Venice version and the traditional one.

After issuing recordings of Les VÍpres Siciliennes, Simon Boccanegra, and Macbeth, Opera Rara continues it series of Verdi Originalsófirst versions of operas the composer later revisedówith La forza del destino.

This is an absolutely wonderful, live performance recording of two of Mozartís best operas, Don Giovanni and Cosi fan tutte.

This is an absolutely fabulous recording of Schubertís final symphony, which is often compared as his closest composition to the style of Beethoven.

In the 1990ís Pierre Audi staged productions of Monteverdiís three surviving operas (LíOrfeo, Il ritorno díUlisse in patria, and Líincoronazione di Poppea) with De Nederlandse Opera in Amsterdam.

Of all opera singers of the last century, no one better dominated the genreís star power than Maria Callas. During her thirty-four years onstage, she came to embody the essence of the term ìdiva,î both in her stormy personal life and her equally tempestuous stage career.