tue 19/06/2018

Edinburgh

Hidden Door Festival, Edinburgh - transforming spaces

In just five years, what the team behind Hidden Door Festival has achieved is quite remarkable. Having sprung up in 2014, taking over a group of disused vaults behind Waverley train station, the festival’s mission to transform redundant spaces in...

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RSNO, Oundjian, Usher Hall, Edinburgh review - ending on a high in Mahler

Marking his departure as the Royal Scottish National Orchestra's Music Director after six years, Peter Oundjian definitely left on a high, conducting a gripping, visceral performance of Mahler’s last completed symphony. Its beginnings were glassy...

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Robin Ticciati on conducting Brahms: 'trying to understand the man through his music'

Edinburgh, October 2015. Robin Ticciati is still flying high from a remarkable performance of Brahms's First Symphony, the start of an intended cycle with his Scottish Chamber Orchestra in his seventh season as principal conductor. After a...

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theartsdesk in Kraków - Easter music with a British focus

Held annually every Holy Week, Kraków’s Misteria Paschalia is one of the continent’s most vibrant early music festivals. With an increasing focus on international collaborations, the 2018 edition welcomed Edinburgh’s Dunedin Consort as artists in...

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Irvine Welsh: Dead Men's Trousers review - Renton and Begbie make it safely to middle age

When it came out in 1993, Trainspotting was probably the most shocking novel since Lady Chatterley's Lover. It’s rumoured to have missed out on a Booker shortlisting because it offended the judges. Certainly, for your reviewer, a Surrey teenager at...

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Martín, SCO, Ticciati, Usher Hall, Edinburgh review - farewell to the best of chief conductors

The Scottish Chamber Orchestra’s final season concert conducted by Robin Ticciati, who leaves his post as chief conductor of the SCO for the Deutsches Symphonie-Orchester Berlin, was bound to be an emotional occasion. Spanning a decade, the...

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Tabula Rasa, Traverse Theatre review - honest, compassionate, but not always convincing

Collaboration and collegiality are becoming ever more important across the Scottish arts scene, it seems. Glasgow theatre company Vanishing Point teamed up with Scottish Opera earlier this year for a double-bill based around Bartók’s Bluebeard’s...

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Uchida, SCO, Ticciati, Usher Hall, Edinburgh review - Berlioz steals the show

"Mitsuko Uchida plays Mozart" might have been the marketing tag to sell out this first concert in the Scottish Chamber Orchestra's 2017-18 season (despite student and free under-18s take-up, the Usher Hall still wasn't full). "Dvořák Symphony No. 8...

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DVD/Blu-ray: Journey to the Centre of the Earth

Oh dear. I thought that this was going to be one of those exciting fantasy films that livened up TV on weekend afternoons in my childhood, and that there would be kitschy special effects and ludicrous dialogue. But no, it's not 20,00 Leagues under...

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What Shadows, Royal Lyceum Theatre, Edinburgh review - compelling, urgent, unashamedly provocative

You’ve got to hand it to David Greig. The artistic director of Edinburgh’s Lyceum Theatre has shown quite a knack for surfing the zeitgeist with his programming – and more importantly, tackling urgent political issues in a properly theatrical way.He...

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Edinburgh Fringe 2017 review: Concerto for Comedian and Orchestra - gentle, old-fashioned humour

It’s a tricky thing to get right, musical comedy. For every Victoria Wood, Tim Minchin or Bill Bailey, there are others – plenty of them at the Edinburgh Fringe, in fact – who find it more of a challenge to meld together the two forms so that they...

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Edinburgh Festival 2017 review: Iestyn Davies, AAM - exquisite and enlightening

“An affectionate look at different nationalities through their horses.” That was the memorably bizarre description by harpsichordist/conductor Richard Egarr of Telemann’s Les nations suite, with which he opened his second Queen’s Hall concert...

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