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Andrew Clements

Hasse: Didone Abbandonata - review

Johann Adolph Hasse (1699-1783) is one of those composers whose importance in the history of opera has never been questioned, but whose own works have long since disappeared from the repertory. Born near Hamburg in the last year of the 17th century, Hasse

Britten: The Canticles - review

Johnson/Baillieu (Signum Classics) Ben Johnson is rising rapidly through the richly stocked ranks of young British tenors. His musical range is wide (as demonstrated by the current ENO production of La Traviata ), but Johnson has already made a partic

Lulu - review

Welsh National Opera's only previous production of Lulu, in 1971, was the first ever by a British company. The new one is a landmark too, for it opens the first of WNO's thematic seasons planned by its new artistic director David Pountney, who is also res

CBSO/Volkov - review

Symphony Hall, Birmingham It is no secret that Ilan Volkov was one of the conductors in the frame to become the CBSO's next music director when Andris Nelsons was appointed in 2007. Since then, Volkov has maintained links with the orchestra as a guest

Eugene Onegin - review

Royal Opera House, London If Eugene Onegin is a study of how an intelligent man can ruin his life by rejecting the woman who could have been his soul mate and killing his best friend in a duel, then Kasper Holten 's production of it is an equally conv

La Traviata - review

Coliseum, London When Peter Konwitschny's Traviata was first seen in Graz two years ago , the director claimed that Violetta was "the only human being" in the opera. It's clear from the production's opening moments at the Coliseum that for Konwitschny

Goehr: When Adam Fell; Pastorals; Marching to Carcassonne - review

Serkin/BBC SO/London Sinfonietta/Knussen (Naxos) Compiled from BBC recordings, two of concerts at the Barbican, in London, the other from the studio, this collection of previously unrecorded works makes a valuable late 80th-birthday tribute to Alexander

Weill and Eisler: Songs, etc - review

Kammer/Spring (Capriccio) There's some historical logic in yoking Kurt Weill and Hanns Eisler together - both were active in Berlin from the late 1920s, until forced to leave by the Nazis, and both worked with Bertolt Brecht - but musically they were