LSO
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…
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…
A lockdown masterpiece and the Jessica Rabbit of concertos: contemporary classical roundup
So it finally happened: I experienced my first vocal setting of the word ‘Covid’. An encounter that was, inevitably, more…
Hit every auditory G-spot simultaneously: CBSO/Hough/Gardner concert reviewed
Rejoice: live music is back. Or at least, live music with a live audience, which, as Sir Simon Rattle admitted,…
Three new releases that show the classical recording industry is alive and well
Rachmaninov’s First Symphony begins with a snarl, and gets angrier. A menacing skirl from the woodwinds, a triple-fortissimo blast from…
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
Unobtrusively filmed, powerfully performed but still unsatisfying: LSO's Bluebeard reviewed
The timing couldn’t be better. Just as the gates clang shut on another national lockdown, trapping us all indefinitely with…
Ravishing and poignant: ENO’s Orphée reviewed
Billy Wilder, asked for his opinion of Andrew Lloyd Webber’s musical version of his movie Sunset Boulevard, famously replied: ‘Those…
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…
Rattle’s recapitulation: LSO/Simon Rattle at Barbican reviewed
A pregnant silence, a peaty belch from the tuba, and the scrape of brass on brass as gears lock into…
A Beggar’s Opera that beggars belief in Edinburgh
Robert Carsen’s new updating of The Beggar’s Opera is a coke-snorting, trash-talking, breakdancing, palm-greasing, skirt-hiking, rule-breaking affair — and every…
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…
Director’s cut
Much fuss has been made of the title given to Sir Simon Rattle on arrival at the London Symphony Orchestra.…
Hadyn recreated
‘Rarely, rarely, comest thou, Spirit of Delight!’ wrote Elgar, quoting Shelley, at the top of his Second Symphony. He should…
Powerful and upsetting: Pelléas et Mélisande at the Barbican reviewed
There are some operas, as there are some people, that it is impossible to establish a settled relationship with, and…
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…
Goodbye, Claudio Abbado. You helped us glimpse eternity
Fellini’s credo ‘the visionary is the only true realist’ could also be applied to the life of Claudio Abbado, who…
'I was an arrogant 18-year-old': Daniel Harding on growing up
Michael Henderson talks to the youthful conductor Daniel Harding, who realises that the older he gets the more he has to learn
