Barbara Hannigan needs to stop conducting while singing
Last week, Barbara Hannigan conducted the London Symphony Orchestra in Haydn, Roussel, Ravel and Britten, though to be honest she…
A luminous new recording of The Dream of Gerontius
Grade: A– There’s a species of music-lover who enjoys pointing out that Elgar isn’t played much on the Continent –…
A dancing, weightless garland of gems: Stephen Hough’s piano concerto reviewed
Stephen Hough’s new piano concerto is called The World of Yesterday but its second ever performance offered a dispiriting glimpse…
Spreads emotions like jam: Festen, at the Royal Opera House, reviewed
Mark-Anthony Turnage’s new opera Festen opened at Covent Garden earlier this month, and reader, I messed up. I broke my…
Regents Opera’s Ring is a formidable achievement
I saw the world end in a Bethnal Green leisure centre. Regents Opera’s Ring cycle, which began in 2022 in…
Opera North’s Flying Dutchman scores a full house in cliché bingo
The overture to The Flying Dutchman opens at gale force. There’s nothing like it; Mendelssohn and Berlioz both painted orchestral…
The thankless art of the librettist
Next week, after the première of Mark-Anthony Turnage’s new opera Festen, the cast and conductor will take their bow. All…
Classical music has much to learn from Liverpool
They do things their own way in Liverpool; they always have. In 1997 the Royal Liverpool Philharmonic Orchestra launched a…
A committed performance of Lerner and Weill’s flop: Opera North’s Love Life reviewed
Once upon a time on Broadway, Igor Stravinsky composed a ballet for Billy Rose’s revue Seven Lively Arts. After the…
The stupidity of the classical piano trio
It’s a right mess, the classical piano trio; the unintended consequence of one of musical history’s more frustrating twists. When…
Our verdict on Pappano’s first months at the London Symphony Orchestra
Sir Antonio Pappano began 2024 as music director of the Royal Opera and ended as chief conductor of the London…
A miracle at the RSC: genuinely funny Shakespeare
Dost thou think, because thou art virtuous, there shall be no more cakes and ale? Most subsidised theatres hanker for…
Meet the king of comic opera
John Savournin has been busy. That comes with the territory for a classical singer – things often get a little…
Vivid, noble and bouyant: AAM’s Messiah reviewed
More than a thousand musicians took part when Handel’s Messiah was performed in Westminster Abbey in May 1791. It wasn’t…
Spellbinding: Herbert Blomstedt’s Mahler 9 reviewed
Ivor Cutler called silence the music of the cognoscenti. But there’s silence and there’s silence, and a regular concertgoer hears…
A keeper: ENO’s new The Elixir of Love reviewed
There was some light booing on the first night of English National Opera’s The Elixir of Love, but it was…
Fails to ignite: Royal Opera’s Tales of Hoffmann reviewed
I couldn’t love anyone who didn’t love Offenbach’s The Tales of Hoffmann. Everything – everything – is stacked against this…
One beauty – one turkey: Wexford Festival Opera reviewed
‘Theatre within Theatre’ was the theme of the 2024 Wexford Festival and with Sir Charles Villiers Stanford’s The Critic, that’s…
A lively and imaginative interpretation of an indestructible Britten opera
Scottish Opera’s new production of Albert Herring updates the action to 1990, and hey – remember 1990? No, not particularly,…
You’re unlikely to see a better case made for this Bernstein double bill
It’s rare nowadays to see a new opera production that’s set in the period that the composer and librettist intended,…
The BBC Singers Centenary Concert was toe-curling
When does a new opera enter the repertoire? Judith Weir’s Blond Eckbert has only had a couple of UK productions…
Heartfelt and thought-provoking: Eugene Onegin, at the Royal Opera, reviewed
The curtain is already up at the start of Ted Huffman’s new production of Eugene Onegin. The auditorium is lit…
Committed performances – but who was the granny? Northern Ireland Opera’s Eugene Onegin reviewed
It’s a critic’s job to pick holes in the dafter aspects of opera productions, but in truth audiences are usually…
