Classical
A total (and often gripping) theatrical experience: Scottish Opera’s Ainadamar reviewed
Do you remember Osvaldo Golijov? Two decades ago he was classical music’s Next Big Thing: a credible postmodernist with a…
A miniature rite of a very English spring: a Vaughan Williams rediscovery in Liverpool
Imagine a folk dance without music. Actually, you don’t have to: poke about on YouTube and you’ll find footage from…
Grey, grey and more grey: Aida, at the Royal Opera House, reviewed
Grey. More grey. So very, very grey. That’s the main visual impression left by Robert Carsen’s new production of Verdi’s…
Why does opera always feel the need apologise for its plots?
Leos Janacek disliked long operas, and the first act of The Makropulos Affair is a masterclass in how to set…
Holds out huge promise for future seasons: If Opera's La Rondine reviewed
One swallow might not make a summer, but it certainly helps rounds the season off. ‘Perhaps, like the swallow, you…
The joy of Franck’s Symphony in D Minor: BBCSO/Gabel, at the Proms, reviewed
In the Rodgers and Hart musical On Your Toes, a Broadway hoofer is forced to work at a community college,…
A classic in the making: Glyndebourne's Poulenc double bill reviewed
One morning in the 20th century, Thérèse wakes up next to her husband and announces that she’s a feminist. Hubby,…
A bleeding, inch-thick hunk of verismo sirloin: Royal Opera's Cav and Pag reviewed
One legacy of lockdown in the classical music world has been the sheer length of the 21-22 season. In a…
An intimate, lucid and unforgettable new James MacMillan work
On Tuesday night I was at the world première of a motet by Sir James MacMillan and I don’t think…
Claude Vivier ought to be a modern classic. Why isn't he?
April is the cruellest month, but May is shaping up quite pleasantly and the daylight streamed in through the east…
Even Nelsons’s miscalculations are fascinating: Leipzig Gewandhaus/Andris Nelsons, at the Barbican, reviewed
Imagine growing up with a whole orchestra as your plaything. Richard Strauss’s father was the principal horn of the Munich…
Too affectionate, not enough cruelty: Don Pasquale, at the Royal Opera House, reviewed
There are many things to enjoy in the Royal Opera’s revival of Donizetti’s Don Pasquale, but perhaps the most surprising…
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,…
A spirited attempt to fix a show that’s never really flown: Utopia, Limited reviewed
Utopia, Limited (1893) is a rare bird, and one that every Gilbert and Sullivan completist simply has to bag. The…
Pitch-black satire drenched in an atmosphere of compelling unease: ETO's Golden Cockerel reviewed
Blame it on Serge Diaghilev. Rimsky-Korsakov died in 1908 and never saw the première of his last opera, The Golden…
Spot-on in almost every way: Scottish Opera's A Midsummer Night’s Dream reviewed
Scottish Opera’s new production of Britten’s A Midsummer Night’s Dream seems to open in midwinter. Snow falls, fairies hurl snowballs…
Astonishing, if unnecessary, grandstanding: Barbara Hannigan's La voix humaine reviewed
I think it was when she leaned forward and balanced on one leg that Barbara Hannigan jumped the shark. It…
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…
Deserves to become an ENO staple: The Cunning Little Vixen reviewed
Spoiler alert. The last words in Janacek’s The Cunning Little Vixen come from a child playing a frog. The story…
Clear, complex and gripping: Opera North's Rigoletto reviewed
Say what you like about that Duke of Mantua, but he’s basically an OK sort of bloke. A bit of…
Not pleasant, and not in tune, but unarguably compelling: Royal Opera's Nabucco reviewed
Nabucco, said Giuseppe Verdi, ‘was born under a lucky star’. It was both his last throw of the dice and…
A booster shot of sunlight: Unsuk Chin's new violin concerto reviewed
Sir Simon Rattle and the London Symphony Orchestra began the year with a world première. Unsuk Chin’s Second Violin Concerto…
Business as usual
It’s 2022 and classical music is, again, dead. It’d be surprising if it wasn’t. In 2014 the New Yorker published…
Modernism's back, baby: Huddersfield Contemporary Music Festival reviewed
It’s not everyone’s idea of fun, a trip to Huddersfield in the depths of November. But as any veteran of…
In defence of the earworm
That strain again… it’s the morning after the concert and one tune is still there, playing in the head upon…
