Classical Reviews
Bach's Easter Oratorio, OAE, Whelan, QEH review - the joys of springtimeFriday, 29 March 2024
Waiting, and hoping, may prove just as intense an experience as the fulfilment of a wish – or of a fear. Bach knew that, and infused his Easter Week music with a sense of suspense and anticipation built into vocal and instrumental lines that build and strive and stretch towards a climactic revelation that, until the very end, remains just out of reach. Read more... |
Schubert Piano Sonatas 4, Paul Lewis, Wigmore Hall review - feverish and sometimes violentWednesday, 27 March 2024
“Death doesn’t scare me at all,” said my friend Christopher Hitchens during our last telephone conversation. “After all, it’s the only certainty in life. Dying, however, scares me shitless”. Read more... |
Bach St John Passion, Dublin Bach Singers, Marlborough Baroque Orchestra, Murphy, St Ann's Church, Dublin - choral fireMonday, 25 March 2024
Was it worth taking a risk on a more humbly presented St John Passion in Dublin after the best St Matthew I’m ever likely to hear (from Peter Whelan and the Irish Baroque Ensemble in St Patrick’s Cathedral)? Read more... |
Bach Passions, Dunedin Consort, Mulroy/Jeannin, St Mary's Episcopal Cathedral/Queen's Hall, Edinburgh review - twin peaksSaturday, 23 March 2024
The annual St Matthew Passion from the Dunedin Consort is one the most reliably beautiful jewels in Edinburgh’s musical year. They do the St John Passion much less frequently; in fact, this is the first time I’ve heard them do it, maybe motivated by its tercentenary this year. Read more... |
Our Mother, Stone Nest review - musical drama in a mother's griefSaturday, 23 March 2024
Pergolesi’s Stabat Mater is one of the most ineffable masterpieces of the 18th century, its poignancy increased by the fact that the 26-year-old composer died shortly after writing it. A medieval meditation about Mary at the foot of the cross, it pitches two voices against a small orchestra, presented in a dramatised production this week by the young historical performance ensemble Figure. Read more... |
Gillam, Hallé, Poska, Bridgewater Hall, Manchester review - an experience of colour and funThursday, 21 March 2024
There was a common factor in the superficially disparate elements of this Hallé concert, and it wasn’t just the fact that both soloist and conductor were female. It was an experience of the colours of the music and a sense of enjoyment of what orchestral music offers. Read more... |
Ensemble Augelletti, London Handel Festival, Charterhouse review - dynamic framing of the honorary EnglishmanThursday, 21 March 2024
One of the many delightful discoveries in this dynamic, imaginative lunchtime concert was that Handel and Telemann had a thing for sending each other flowers. Not bouquets, but earthy bulbs and tubers, “I am insatiable where hyacinths and tulips are concerned, greedy for ranunculi, and especially for anenomes,” Telemann wrote. Read more... |
St Mary's Music School, RSNO, Søndergård, Usher Hall, Edinburgh review - a shining role for young choristersWednesday, 20 March 2024
For the second year in a row the Royal Scottish National Orchestra chose to share its platform in Edinburgh’s Usher Hall with the young musicians of St Mary's Music School. As RSNO chief executive Alistair Mackie pointed out in a short opening speech, the links between the two organisations run deep, as many players in the RSNO started their musical careers at St Mary's. Read more... |
Bevan, Williams, BBCSO, MacMillan, Barbican review - inspirational journey from darkness to lightMonday, 18 March 2024
It began with the tolling of a lone bell and ended in a transcendent blaze of golden light. Read more... |
Hughes, SCO, Kuusisto, Queen’s Hall, Edinburgh review - Clyne shines, Grime fragmentsSaturday, 16 March 2024
Most concert promoters will tell you that contemporary music tends to be, to put it politely, a tricky sell, which is one of the reasons why it’s most often programmed alongside Beethoven or Tchaikovsky. A whole programme of the stuff tends to be box office suicide, so it’s almost never done. Read more... |
Pages
inside classical music
latest in today
Jonathan Pie, Duke of York's Theatre review - spoof pol...
If you don't like sweary comics – Jonathan Pie uses the c-word liberally – then this may not be the show for you. In fact if you're a Tory, ditto...
Baby Reindeer, Netflix review - a misery memoir disturbingly...
Richard Gadd won an Edinburgh Comedy Award in 2016 with...
Machinal, The Old Vic review - note-perfect pity and terror
Virtuosity and a wildly beating heart are compatible in Richard Jones’s finely calibrated production of Renaissance woman Sophie Treadwell’s ...
Fantastic Machine review - photography's story from one...
The first photograph was taken nearly 200 years ago in France by Joseph Niépce, and the first picture of a person was taken in Paris by Louis...
Simon Boccanegra, Hallé, Elder, Bridgewater Hall, Manchester...
If ever more evidence were needed of Sir Mark Elder’s untiring zest for exploration and love of the thrill of live opera performance, it was this...
All You Need Is Death review - a future folk horror classic
Music, when the singer’s voice dies away, vibrates in the memory. In the hypnotic new Irish horror film All You Need Is Death, those who...
Album: Jonny Drop • Andrew Ashong - The Puzzle Dust
As I sat down to write this review, the sun came out. It was a salutory reminder of the importance of context: where I’d previously thought “mmm,...
theartsdesk on Vinyl: Record Store Day Special 2024
Record Store Day is tomorrow! At theartsdesk on Vinyl...
If Only I Could Hibernate review - kids in grinding poverty...
Teenage Ulzii (Battsooj Uurtsaikh in an elegantly restrained performance) is looking after his little sister and brother in Ulaanbaatar after...
The Book of Clarence review - larky jaunt through biblical e...
The Book of Clarence comes lumbered with the charge of being the new Life of Brian, an irreverent spoof of the life...