A fun evening that finished early enough for dinner – neither a given in Handel
On a sward of AstroTurf somewhere off Silicon Roundabout, Mountain Media is hosting its summer party and, well, it’s the…
A full-on Freudian Oklahoma! at Grange Park Opera
Oh, what a beautiful morning! In Jo Davies’s production of Oklahoma! the audience spends the overture staring at the side…
I don’t get why people worship Bach
I don’t get Johann Sebastian Bach. I mean, I get that he was good — no Mozart, sure, but definitely…
Cold and confusing: Garsington’s Die Zauberflöte reviewed
The picnic hamper’s open, the bubbly is chilled, and country house opera is starting to eat itself. When you arrive…
Glyndebourne’s Der Rosenkavalier never forgets to be funny
‘Comedy for music by Hugo von Hofmannsthal. Music by Richard Strauss.’ That’s what the creators of Der Rosenkavalier wrote on…
How does David Matthews get away with writing symphonies with tunes in them?
‘All fish in flood and fowl of flight/ Be mirthful now and make melody’ writes the poet William Dunbar in…
Dudamel’s Amériques made The Rite of Spring sound like Einaudi
Apparently it’s called ‘expectation management’. Pollux, Esa-Pekka Salonen’s new work for the Los Angeles Philharmonic Orchestra, takes its name from…
Bravura, assurance and generosity: Mark Simpson’s new Cello Concerto reviewed
The opening of Mark Simpson’s new Cello Concerto is pure Hollywood. A fanfare in the low brass, an upwards rush…
This Hansel and Gretel has ‘classic’ stamped all over it
It’s been a good couple of weeks for cuddly toys in opera. A big floppy Eeyore is the only comfort…
How Debussy slipped past Wagner into the unknown
A spectre haunted the first weekend of the City of Birmingham Symphony Orchestra’s Debussy Festival: the spectre of Richard Wagner.…
Does Gerald Barry hate music?
Blue Gadoo is one of those cats whose face looks like it’s been bashed flat with a wok. He lives…
A mischievous, daring production that produces the goods: Iolanthe reviewed
‘Welcome to our hearts again, Iolanthe!’ sings the fairy chorus in Gilbert and Sullivan’s fantasy-satire, and during this exuberant new…
More than ever, this was Ulysses’ show: Royal Opera’s Return of Ulysses reviewed
Spoiler alert: the final image of John Fulljames’s production of Monteverdi’s The Return of Ulysses at the Roundhouse is haunting.…
The National Youth Orchestra showed that they’re the equal of any professional band
Everyone knows — don’t they? — that the National Youth Orchestra of Great Britain is the UK’s youngest world-class symphony…
Debussy, Tippett and Wagner: the musical treats of 2018
Claude Debussy died on 25 March 1918 to the sound of explosions. Four days earlier, the Kaiser’s army had deployed…
Gorgeous but exhausting: Jurowski/LPO at Royal Festival Hall reviewed
To get a flavour of Joseph Marx’s An Autumn Symphony, picture the confectionery counter in a grand Viennese café. Beneath…
Embarrassing – but electrifying: Bernstein 100 reviewed
‘There is something enviable about the utter lack of inhibition with which Leonard Bernstein carries on,’ wrote the critic of…
Hearts and minds
Debussy’s Prélude à l’après-midi d’un faune begins with a sigh: a long, languorous exhalation played on the lower notes of…
Irish ayes
Luigi Cherubini is the pantomime villain of French romantic music. As head of the Paris Conservatoire in the 1820s he…
Mad Men – The Opera
Leonard Bernstein’s Trouble in Tahiti begins not with a prelude, but a jingle. In Matthew Eberhardt’s production a trio of…
Pole position
Did you know that they used to make the Fiat 126 in the Eastern bloc? They did, apparently. There was…
The sound of no hands clapping
‘We’re going to live for ever!’ declares Robert Powell as Gustav Mahler at the end of Ken Russell’s 1974 biopic.…
Viennese whirl
‘First performance: Vienna, October 3, 1880’ declares the programme for Opera della Luna’s new production of Johann Strauss’s The Queen’s…
Twin peaks
Schoenberg began Gurrelieder in 1900, but he didn’t hear it until 1913. By then, he’d moved on, and he ostentatiously…
Wilson’s sparkle and snap
Back in the period-instrument wars of the 1980s and ’90s, when the forces of historically informed performance smashed out of…
