Tim Ashley

Meyerbeer: Vasco de Gama review markedly uneven

Sorokina/Yang/Berchtold/Chemnitz Opera Chorus/Robert-Schumann-Philharmonie/BeermannCPO, 4 CDsThis is not a newly discovered Meyerbeer opera, but a version of L'Africaine, his last stage work, posthumously premiered in 1865. Meyerbeer reworked it on and of

Prom 17: Les Arts Florissants/Christie familiar finesse, classy soloists

Rameau's vivid, emotionally immediate Grand Motets brought a flavour of his importance as a composer of sacred music to the anniversary celebrations.

Prom 16: Borusan Istanbul Philharmonic/Goetzel review

This was a classy, enthusiastic ensemble and Sascha Goetzel the consummate showman at this Middle East-inspired evening.

Prom 12: St John Passion review fascinating, beautiful and erratic

Some superlative playing in Bach's masterpiece, under the baton of Roger Norrington, but the evening's chief glory was the beautifully controlled choral singing.

Beethoven: Missa Solemnis review Georg Solti at his Proms best

Donath/Soffel/Jerusalem/Sotin/Edinburgh Festival Chorus/LPO/Solti(LPO)This derives from a Proms broadcast in 1982, during Georg Solti's final season as principal conductor of the London Philharmonic Orchestra. It's not without problems: the recording is

Bartok: Bluebeard's Castle review absolutely unforgettable

Seefried/Fischer-Dieskau/Swiss Festival Orchestra/Kubelik (Audite) Conducted by Rafael Kubelík , this terrifying performance of Bartók's only opera was taped live at the 1962 Lucerne festival, with which Kubelík was closely assoc

Handel: The Triumph of Time and Truth review not the disaster some have claimed

First performed in 1757, Handel's last oratorio, The Triumph of Time and Truth, is a drastic revision of Il Trionfo del Tempo e del Disinganno, written some 50 years earlier during Handel's Italian period.

Pizzetti/Castelnuovo-Tedesco: Violin Sonatas review gorgeous, uncompromising and abrasive

The latest instalment of Hagai Shaham and Arnon Erez's exploration of the 20th-century violin and piano repertory focuses on two figures from inter-war Italy.

Olga Peretyatko: Arabesque review from po-faced to jaw-dropping

Olga Peretyatko's latest album is essentially an old-fashioned recital of coloratura show-stoppers, some drawn from the mainstream operatic repertoire, though others, like Alyabyev's The Nightingale and Tosti's Il Bacio, are party pieces associated with t