Kings Place
A perfect welcome back to live music: Sarathy Korwar at Kings Place reviewed
There is a reason music writers tend to stick with music writing rather than transferring their manifold talents to the…
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…
A Winterreise that included a mistake of genius
Broadly speaking, there are two kinds of approach to performing Schubert’s Winterreise, though sometimes there’s doubt or dispute about which…
Never quite pivots from thesis to drama: Royal Opera’s Queen of Spades reviewed
We increasingly accept the collision between life and art. Whether we’re puzzling over the real identity of Elena Ferrante, choosing…
The finest Tristan since Siegfried Jerusalem
Which of Wagner’s mature dramas is the most challenging, for performers and spectators? The one you’re seeing at the moment,…
Futurism’s escape to the country
Futurism, with its populist mix of explosive rhetoric (burn all the museums!) and resolutely urban experience and emphasis on speed,…
