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Your guide to classical music online
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Your guide to classical music online
John Eliot Gardiner has returned to the form reminiscent of his earliest days with the Monteverdi Choir, when performances were bright and fresh and taut
This is tied for the finest performance of this opera in its 1762, Italian-language Vienna version, in which the role of Orfeo was scored for
This reissue from 1988 is a happy reminder of the good old days when John Eliot Gardiner was making some consistently terrific recordings, particularly of
Considering that this opera is a great, deep story of hopelessness, undying love, and nobility of purpose, word, and deed, this performance is strangely unmoving.
In keeping with his cantata series as a whole, these performances suffer from inconsistency and unevenness due to John Eliot Gardiner’s general lack of feeling
In this recording of Bach’s Suite No. 1, John Eliot Gardiner follows Passepieds I and II with Bach’s own setting of the chorale Dir, dir,
This is a popular program of Purcell Odes, and although these performances are serviceable, others afford superior recorded sound and smoother, slightly more consistent readings.
This lastest entry in the “Philips 50” series came up for review after I had just heard this exact coupling on Eloquence, featuring Eduard van
Gardiner’s Bach hasn’t worn especially well. It’s fast, brilliant, disciplined, and almost completely expressionless. His recording of the Magnificant has an impersonal, steely urgency strangely
John Eliot Gardiner returns with another release in his Bach cantata series. As with some of the others, this one is not a new recording
