contemporary music
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…
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…
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…
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…
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…
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.…
Nils Frahm is clever with textures – but it’s the melodies which drag you in
Grade: A Here we are in that twilit zone where post-techno and post-ambient meets modern classical, a terrain that has…
A colossal bore: Royal Opera’s Carmen reviewed
The new production of Bizet’s Carmen at the Royal Opera has received mixed reviews. It shouldn’t have done. They should…
Celebrating Carter was one of the most energising musical occasions in years
Das Rheingold at the Royal Festival Hall was, all told, a disappointment, but it might not have been had there…