http://www.nytimes.com/2005/10/10/arts/music/10ross.html
HANDEL: Teseo
ìTeseoî is one of those ìmight have beenî Handel operas that for one reason or another has never quite made the big time in a high profile, major house performance during our current period of baroque revival. However, this is not something that worries the enterprising likes of the Lautten Compagney Berlin and its Music Director Wolfgang Katschner nor the countertenor-turned-stage director Axel Kohler: for them this rather rare oddity of Handelís genius is simply too good a chance to miss.
A Short Bernstein Opera on a Troubled Marriage
http://www.nytimes.com/2005/10/10/arts/music/10trou.html
MAHLER: Lieder eines fahrenden Gesellen; F¸nf R¸ckert-Lieder
In recent years the few recordings of Mahlerís Lieder with piano accompaniment demonstrate the delicacy of the music in this format and its connections traditional Romantic Lieder. To such fine examples as those by Stephan Genz (on Hyperion) and Thomas E. Bauer (on Ars Musici), Konrad Jarnot is a fine addition.
Don Carlo at ThȂtre du Capitole, Toulouse
http://www.lemonde.fr/web/article/0,1-0@2-3246,36-697344@51-627783,0.html
Bluebeard and His Wives in the Age of Empowerment
http://www.nytimes.com/2005/10/08/arts/music/08aria.html
ORFF: Carmina Burana
Once hailed by the Nazis as a symbol of Aryan supremacy, Carmina Burana has come to be recognized as a powerful expression of the gluttony and depravity present in a medieval, pagan society. An effective performance of Orffís musical adventure must allow audiences to envision the ìimagines magicae,î or magical images conveyed through the convergence of music and choreography.
Sarah Connolly, St John’s, Smith Square, London
http://enjoyment.independent.co.uk/music/reviews/article317583.ece