Classical music
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…
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…
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…
Radio 3 Unwind is music for the morgue
Soon after the launch of Classic FM in 1992, the then controller of Radio 3, Nicholas Kenyon, asserted that his…
Why is Fauré not more celebrated?
It is 100 years since the death of Gabriel Fauré, a composer whose spellbinding romantic tunes emerge from harmonies and…
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,…
Schoenberg owes his survival to crime drama
George Gershwin once made a home movie of Arnold Schoenberg grinning in a suit on his tennis court in Beverly…
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…
‘Some pianists make me shake with anger’: Vikingur Olafsson interviewed
At the BBC Proms this year, an Icelandic pianist dressed like a Wall Street broker played a slow movement from…
A box set for those on the spectrum: Markus Poschner’s Bruckner Symphonies reviewed
Grade: B+ Anton Bruckner wrote 11 symphonies – Numbers One to Nine plus a student exercise and the formidable rejected…
Manacorda’s thrills and spills at Prom 72
At a Hollywood party in the 1940s, the garrulous socialite Elsa Maxwell spotted Arnold Schoenberg, then teaching music at UCLA,…
The unstoppable rise of stage amplification
Recent acquisition of some insanely expensive hearing aids aimed at helping me out in cacophonous restaurants has set me thinking…
The Stockhausen work that is worth braving
Grade: A- One of the best one-liners attributed to Sir Thomas Beecham refers to the stridently avant-garde Karlheinz Stockhausen: ‘I’ve…
In defence of Gilbert & Sullivan’s The Grand Duke
Artistic partnerships are elusive things. The best – where two creative personalities somehow inspire or goad each other to do…
Children have the Proms. Grown-ups head to Salzburg. Snob summer
Salzburg Festival doesn’t mess about. The offerings this year include an adaptation of Thomas Mann’s Magic Mountain in Lithuanian, a…
Forget the Proms and Edinburgh – the Three Choirs Festival is where it’s at
The Proms have started but there is a world elsewhere, and in Worcester Cathedral the 296th Three Choirs Festival set…
An ensemble achievement that dances and sparkles: Glyndebourne’s Giulio Cesare reviewed
A classic opera production ages like wine. When David McVicar’s staging of Handel’s Giulio Cesare first opened at Glyndebourne in…