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Performer: Giulia Bolcato

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ToulouseMesse en si mineur

Orchestre National du Capitole de Toulouse
Bach: Mass in B minor, BWV232
Orchestre National du Capitole de Toulouse; Leonardo García-Alarcón; Giulia Bolcato; Dara Savinova; Hugh Cutting; Valerio Contaldo

DrottningholmL'incoronazione di Poppea, SV 308New production

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Monteverdi: L'incoronazione di Poppea, SV 308
Francesco Corti; Benjamin Lazar; Christer Nilsson; Alain Blanchot; Christophe Naillet; Drottningholm Theatre Orchestra
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Castor et Pollux in Geneva: among the stars, with shadows

Castor et Pollux © Magali Dougados
Rameau’s Castor et Pollux returns to the stage in a new production that brings together Baroque repertoire and contemporary theatrical aesthetics, conducted by Leonardo García Alarcón and performed by Cappella Mediterranea with an international cast.
***11
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Neorealist nostalgia: Monteverdi’s Ulisse in post-war Sicily

Il ritorno d'Ulisse in patria © Lorenzo Gorini

Davide Livermore creates a successful production of Il ritorno d’Ulisse in patria at the Monteverdi Festival in Cremona, with a great cast led by Mauro Borgioni. 

****1
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Golden Age Spain meets Soviet Russia in Geneva’s season opener

Dmitry Ulyanov (Philippe II) © Grand Théâtre de Genève | Magali Dougados
A grand rendition of Verdi’s Don Carlos opens season at the Grand Théâtre de Genève under the inspired baton of Marc Minkowski, in his first encounter with the opera, directed by Lydia Steier. 
***11
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Alexander Balus: a wonderful performance

Why is Handel's wonderful oratorio Alexander Balus so rarely performed?  A performance at Herzfeld am Harz, as part of the Göttingen Handel festival, was musically splendid, despite cuts.
****1
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Filippo Perocco's Aquagranda at La Fenice

Fifty years ago, on 4 November 1966, Venice was struck by a terrible flood. Now this is the subject of a new opera by composeer Filippo Perocco premiered at the Teatro La Fenice.
****1
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Jordi Savall mit neuer Vervollständigung Mozarts Großer c-Moll-Messe

Jordi Savall © Daniel Dittus (2024)
Guglielmi und Savall gelingt nicht nur editorisch eine logische Version der Missa, sondern auch – mit kleinen typischen Einschränkungen – eine besonders durch Höhenkontrolle und Stilreinheit interpretatorisch fabelhafte Hörwohltat.
****1
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