contemporary music
Why I booed Birtwistle
Keith Burstein recalls a key moment in the battle for emancipation from the ivory tower of atonalism
Igor Levit deserved his standing ovation; Shostakovich, even more so
Music and politics don’t mix, runs the platitude. Looks a bit tattered now, doesn’t it? For Soviet musicians, of course,…
The genius of Iannis Xenakis
This year is the centenary of the birth of Iannis Xenakis, the Greek composer-architect who called himself an ancient Greek…
Expectations were met and then exceeded: Arooj Aftab, at Celtic Connections, reviewed
We gathered on a freezing Sunday night, inside a barrel-vaulted church designed in the 1890s by Charles Rennie Mackintosh, to…
The music we need right now: James MacMillan’s Christmas Oratorio reviewed
The two most depressing words in contemporary classical music? That’s easy: holy minimalism. I know, I know. Lots of people…
Are we going to have to start taking Calixto Bieito seriously? ENO’s Carmen reviewed
Calixto Bieito’s Carmen: three words to make an opera critic’s heart leap. Until quite recently, Bieito was the operatic provocateur…
Handsome and revivable but I wasn’t moved: Royal Opera’s Death in Venice reviewed
Premièred within two years of each other, Luchino Visconti’s film and Benjamin Britten’s opera Death in Venice both take Thomas…
Why are Haydn’s operas so lousy? La fedelta premiata reviewed
There’s a book about musicals that every opera lover should read. Not Since Carrie by Ken Mandelbaum is a history…
In his new piano concerto Thomas Ades’s inspiration has completely dried up
There’s nothing like a good piano concerto and, sad to relate, Thomas Adès’s long-awaited first proper attempt at the genre…
![English National Opera's triumphant new production of Harrison Birtwistle's The Mask of Orpheus, directed by Daniel Kramer. [Photo: Alistair Muir]](https://spectatorau.imgix.net/content/uploads/2019/10/Opera_Exhibitions.jpg?auto=compress,enhance,format&crop=faces,entropy,edges&fit=crop&w=410&h=275)
A triumph: ENO’s Mask of Orpheus reviewed
ENO’s Mask of Orpheus is a triumph. It’s also unintelligible. Even David Pountney, who produced the original ENO staging in…
You leave awe-struck but also a bit frazzled: Holland Festival’s Aus Licht reviewed
In Stockhausen’s Klavierstück XI hands become fists, arms and elbows clubs, shoving, pounding and ker-pow-ing the keyboard to near oblivion.…
Hearing Gilbert & Sullivan on period instruments was a revelation
‘I consider that music is, by its very nature, essentially powerless to express anything at all,’ wrote Stravinsky in one…
ENO’s Jack the Ripper needs to decide if it wants to be a gore-fest or social history
Is it possible to write a feminist opera about Jack the Ripper? Composer Iain Bell thinks it is, and his…
Read The Spectator article that gave birth to musical minimalism 50 years ago
The Spectator is responsible for many coinages. One of the most significant came in 1968, when an article by our…
Britten’s War Requiem almost sounded like a masterpiece – but it’s isn’t, is it?
‘What passing-bells for these who die as cattle?’ We’ve heard a lot, lately, of the knell that tolls through the…
One of the last living avant-gardists speaks – Gyorgy Kurtag on his new Beckett opera
Arriving in Budapest, I receive a summons I cannot refuse. Gyorgy Kurtag wants to see me. Famously elusive, the last…
‘Darmstadt taught me how to compose’: Ennio Morricone interviewed
Ennio Morricone’s staff wish it to be known that he does not write soundtracks. ‘Maestro Morricone writes “Film Music” NOT…
An embarrassing and misshapen dud: Opera Holland Park’s Isabeau reviewed
I’ve been trying to pinpoint the exact moment when it became impossible to take Mascagni’s Isabeau seriously. It wasn’t when…
Classical music is awash with virtue-signalling
All my life I’ve wanted to compose music, and now I’ve done it. I’ve written a sonata for solo flute…
Much is routine – and a fair amount is worse: Glyndebourne’s Madama Butterfly reviewed
There is no such thing as a moderately good performance of Madama Butterfly, or, to be more precise, it’s not…
Grief-conjurors, space-mincers and earth-shovellers: performance roundup
They enter two by two. Grannies, mainly. Headscarved, mainly. Some locking arms. A bit glum. Like rejects from Noah’s ark.…
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…
Closing the Queen Elizabeth Hall invigorated the new music scene. Why reopen it?
Imagine the National inviting RuPaul to play Hamlet. Or Tate giving Beryl Cook a retrospective. The London Sinfonietta offered a…
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.…
