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Andrew Clements

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

Mussorgsky: Pictures from an Exhibition; Prokofiev: Sarcasms; Visions Fugitives - review

Steven Osborne (Hyperion) Few of today's leading pianists have a wider range of repertory than Steven Osborne , and it's to the credit of Hyperion that he has been allowed to reflect that range in his discs, instead of being forced into the monoculture

Philharmonia/Salonen - review

Royal Festival Hall, London Alongside this year's other high-profile anniversaries, the centenary of Witold Lutos?awski 's birth risks being overshadowed. But Esa-Pekka Salonen and the Philharmonia have ensured that in London, at least, that won't hap

Wagner: Die Walk

Pape/Stemme/Kaufmann/Kampe/Gubanova/Mariinsky O/Gergiev (Mariinsky, four CDs) Taken from a series of concert performances that Valery Gergiev conducted in the Mariinsky Concert Hall in St Petersburg in February and April last year, this is the first in

Beethoven: Symphony No 9 - review

Brouwenstijn/Malaniuk/Windgassen/Weber/Bayreuth Festival Chorus and Orchestra/Furtw