Classical music
Needed a shot of Stolichnaya: The Tchaikovsky Project reviewed
Grade: B+ I’m not sure about ‘Projects’. Aren’t those what ageing rockers produce, in a haze of sedatives, when their…
Why this première felt important: James MacMillan’s Fifth Symphony reviewed
All symphonies were sacred symphonies, once. Haydn began each day’s composition with a prayer, and ended every score with the…
Bracing and provocative – but would Wagner have approved? Arcola’s Rheingold reviewed
When it comes to the opening of Wagner’s Das Rheingold, Mark Twain probably put it as well as anyone: ‘Out…
A sonic masterclass: the Silesian String Quartet at Wigmore Hall reviewed
Of all the daft notions about the classical music business, the daftest is that it’s a business at all. Seriously:…
Testosterone and passion: Royal Opera’s Marriage of Figaro reviewed
Another turn around the block for David McVicar’s handsome 1830s Figaro at the Royal Opera — the sixth since the…
Easily the best thing I’ve seen at the Grange Festival: Falstaff reviewed
‘Tutto nel mondo e burla’ sings the company at the end of Verdi’s Falstaff — ‘All the world’s a joke’…
This concert proves it is time to take Michael Tippett seriously
In Oliver Soden’s new biography of Michael Tippett, he describes how Tippett wanted to open his Fourth Symphony with the…
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…
Why was Something Understood cut?
It was never given the choicest slot in the schedule, airing first thing on Sunday morning with a repeat at…
The early death of Lili Boulanger is the most grievous of all among composers
Total immersion weekends can prove tricky. The established masters don’t need them, while lesser-known figures often turn out to be…
Why did Parry’s Judith vanish?
‘When a man takes it upon himself to write an oratorio — perhaps the most gratuitous exploit open to a…
Aurora Orchestra’s Brexit concert nearly turned me into a Leaver
Back when the UK was assumed to be leaving the European Union on 29 March, the Aurora Orchestra was invited…
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.…
Scala Radio is a real threat to Radio 2
It’s not surprising given the way that electronic communication has taken over so much of our daily business, minimising human…
Cringingly vulgar, brainless and lacking heart: ENO’s Merry Widow reviewed
Garrick Ohlsson is one of the finest pianists of his generation. Why, then, was the Wigmore Hall not much more…
David Cairns explains how we learned to love Berlioz
According to his friend and fellow-composer Ernest Reyer, the last words Berlioz spoke on his deathbed were: ‘They are finally…
Opera North’s Rite of Spring shows the advantages of confining the music to the pit
It was Stravinsky himself who suggested that, in order to preserve its difficulty, the opening bassoon solo of The Rite…
Meet India’s first – and only – professional western orchestra
It’s a 31ºC Mumbai morning, and on Marine Drive the Russian winter is closing in. The Symphony Orchestra of India…
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…
‘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…
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…
The gentle side of Bruckner
The lady behind me on Kensington Gore clearly felt that she owed her friend an apology: ‘It’s Bruckner. I don’t…
The Budapest Festival Orchestra make all other orchestra look routine and oafish
Looney Tunes was always at its best when soundtracked by a Hungarian gypsy dance. (Watch ‘Pigs in a Polka’ if…
An exalted experience even without a convincing central character: Siegfried in Edinburgh reviewed
There’s one big problem with Wagner’s Siegfried, and the clue’s in the name. None of Wagner’s mature works hangs so…
Music’s Brexit
It’s October 1895 and the spirit of Music has been absent from Britain for exactly 200 years. Why she fled,…
