Why I hate Beethoven’s Pastoral symphony
Norman Lebrecht on his hatred of Beethoven’s Pastoral
Will Britain’s orchestras survive the Brexit exodus?
Will Britain’s orchestras survive the Brexit exodus?
British opera companies and orchestras must start investing in native talent
Brexit and Covid have pushed us out of the common musical market and thrown us back on homegrown sprouts. Good, says Norman Lebrecht
Privatisation is the best option for the South Bank Centre
I must have written about this subject 100 times in 30 years and I’m still having to restate the bloody…
Swanky, stale and sullen, the summer music festival has had its day
The summer music festival has had its day, says Norman Lebrecht
For Jews in Occupied France, survival was a matter of luck
Late in his life, I asked my uncle René about his exploits in wartime France. What I knew was that…
Antonio Pappano on diversity, a new Ring cycle and defending Verdi from dodgy directors
After a record 18 years – and counting – as music director, Antonio Pappano talks to Norman Lebrecht about life after Covent Garden and how opera is beyond younger audiences
Gothic horror, German-style
Those who conduct the City of Birmingham Symphony Orchestra may not be aware that musicians fill in a form after…
How a City lawyer conquered the hardest piano work ever written
Charles-Valentin Alkan played the piano faster than Liszt and louder than Chopin. The dying Pole left instructions that only Alkan…
Do Jews think differently?
Sixteen years into a stop-go production saga, I got a call from the director of The Song of Names with…
From the NHS to Bayreuth: Norman Lebrecht talks to midwife-turned-opera singer Catherine Foster
Every summer for the past six years, Bayreuth has risen to its feet to acclaim an English Brünnhilde. Catherine Foster,…
The fall of Daniel Barenboim
A few years ago, I hooked up with a BBC team in Berlin to record a programme with Daniel Barenboim.…
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…
The truth about Wilhelm Furtwängler
The morning after the first night of Ronald Harwood’s Taking Sides in May 1995, I received a call from Otto…
You vote for my pupil, I’ll vote for yours – the truth about music competitions
A young Korean, 22 years old, won the Dublin International Piano Competition last month. Nothing unusual about that. Koreans and…
How Riccardo Chailly brought joy – and Italian opera – back to La Scala
As the curtain opens on the second act of Don Pasquale, I hear a rustle of discomfort. Donizetti’s opera has…
‘I was really, really scared’: Jonas Kaufmann opens up about his #MeToo moment
‘Hi, it’s Jonas.’ When the great tenor rings from Vienna, I ask if there are any topics he wants me…
The sex lives of conductors
I once knew a great conductor who claimed that he never boarded a plane to a new orchestra without a…
The Chinese classical-music revolution up close
On a bullet train out of Shanghai, a nuclear family catches my eye. The father, weather-beaten and wearing an ill-fitting…
Rattle’s hall
Even in a Trump world where reality is what you say it is, the London Symphony Orchestra’s announcement of a…
Director’s cut
Much fuss has been made of the title given to Sir Simon Rattle on arrival at the London Symphony Orchestra.…
Who is Kirill Petrenko?
Two summers ago, the BBC were offered a Proms visit by the Bavarian State Orchestra with its music director, Kirill…
Who is Kirill Petrenko?
Two summers ago, the BBC were offered a Proms visit by the Bavarian State Orchestra with its music director, Kirill…
Musical maestros and football managers have more in common than you think
You don’t have to be a follower of Liverpool Football Club, or football at all, to spot the difference. Two…
The most powerful man in classical music
When Margaret Thatcher imagined perfect power, she thought of the orchestral conductor. ‘She envied me,’ said Herbert von Karajan, ‘that…
