Decca
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Holst: The Planets, Op. 32
London Philharmonic Orchestra, London Philharmonic Choir, Sir Georg Solti
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Puccini: Tosca
Mirella Freni (Tosca), Luciano Pavarotti (Cavaradossi), Sherrill Milnes (Scarpia), Italo Tajo (Sagristano), Richard Van Allan (Angelotti), Michel Sénéchal (Spoletta), Paul Hudson (Sciarrone), Walter Baratti (Un pastore), John Tomlinson (Un carceriere)
National Philharmonic Orchestra, Nicola...
The great merit of this new version of Tosca...is that the stage picture is so clear, with the words sharply audible from beginning to end...Pavarotti makes an unusually positive and bright-eyed... —
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Tchaikovsky: Swan Lake, Op. 20
Orchestra of the Mariinsky (Kirov) Theatre, St. Petersburg, Valery Gergiev
Gergiev's reading of arguably the greatest classical ballet ever written has been tailored very specifically to the Mariinsky Theatre's performing version of the score. The word 'classical'... —
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Monteverdi: L'Orfeo
John Mark Ainsley (Orfeo), Catherine Bott (La Musica/La Messaggiera/La Proserpina), Julia Gooding (Euridice), Michael George (Plutone), Andrew King (Apollo), Simon Grant (Caronte)
New London Consort, Philip Pickett
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Haydn - The Creation
Emma Kirkby, Anthony Rolfe Johnson, Michael George
The Academy of Ancient Music Orchestra & Chorus, Choir of New College Oxford, Christopher Hogwood
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Pleasures of their Company
Kathleen Battle (soprano), Christopher Parkening (guitar), Barbara Hendricks (soprano), Florence Quivar (mezzo-soprano)
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Gluck: Orfeo ed Euridice
Derek Lee Ragin (Orfeo), Sylvia McNair (Euridice), Cyndia Sieden (Amor)
English Baroque Soloists, Monteverdi Choir, Sir John Eliot Gardiner
Gardiner's original-version Orfeo is unequalled in dramatic conviction, sweep and command. Leading roles have been bettered elsewhere; but overall this is one of the great Gluck recordings. —
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