You can search through our extensive database of thousands of releases from Orchestral and Opera to Choral, Jazz and beyond.
Written by the expert critics of BBC Music Magazine and with over a hundred new reviews added every month, the archive dates back to the magazine's launch in 1992 and now includes over 20,000 reviews.
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When looking for symphonies, concertos, etc., the numbers must appear as follows with a space between 'No.' and the number itself:
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Hans Krása was murdered in Auschwitz in 1944, but his Weill-influenced children’s opera, performed here in a recreation of the version he made for prisoners in Theresienstadt, lives on through its humour and charm. George Hall
This is not just a souvenir of last year’s Glyndebourne premiere, but a competitive recording in its own right, with a first-rate conductor and fine, unusually youthful-sounding cast.
Another disc where the idiomatic orchestral playing is paramount: but Zehetmair matches Fischer in his feeling for the late-Romantic idiom, more overtly in the Second Concerto, and sometimes briskly, but always spot-on musically. Martin Cotton
Before the Icons is a rather different work from the melismatic pieces which have made the Finnish modernist composer internationally famous, although it has just as strong a mystical theme as the Angel series or Cantus Arcticus. It derives from his early piano suite Icons (1955), depicting Byzantine religious images such as The Black Madonna of Blakernaya.
This latest instalment in Zoltán Kocsis’s highly acclaimed Bartók cycle features three works from the 1930s. Earliest of these are the Hungarian Sketches – a delightful sequence of piquant orchestrations of five short piano pieces composed before World War I. Unaccountably neglected both in the concert hall and on disc, it receives a thoroughly engaging performance.
If Rothenberg’s explanation that ‘on a couple of pieces Marilyn played a beat-up soundboard wrenched from an old baby-grand’ puts you off, think again. Crispell’s credentials as a technically accomplished, controlled pianist are as well-established as her reputation for musical honesty.
The finale of the Malian pioneer’s decade-spanning ‘acoustic trilogy’ brings the engrossing experience of a musician totally at ease with his many talents.
It follows a cumulative trajectory like a well-planned concert, addressing his audience with directness from the start and moving from the vital to the intense, celebratory and heartfelt.
If you saw and loved them in the recently-issued Romeo and Juliet, you’ll find Rojo and Acosta irresistible in this long and complex Macmillan choreography. Another classy evening from the Royal Ballet. David Nice
The revival of Rossini’s comedy at London’s Royal Opera House in July 2009 has already passed into legend. Notoriously, American mezzo-soprano Joyce DiDonato broke her leg during the first night, yet completed the show to huge acclaim.
Even more triumphantly, she returned to film this particular performance some nights later, singing and acting Rosina from a wheelchair in a staggering display of professionalism and, indeed, virtuosity.
The published works of Ulster’s Howard Ferguson number only 19; from 1959, aged 51, he had said all he wanted to say and apparently stopped writing altogether. The music itself, too, is the work of a composer who understood that less is more.