fri 29/03/2024

Bernard Hughes

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Bio
Bernard Hughes is a composer and writer, based in London.

Articles By Bernard Hughes

Montero, Scottish Ensemble, Kings Place review - new music with a political edge

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Fibonacci Sequence, Conway Hall review - characterful chamber music for winds

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Epiphoni Consort, Reader, St Paul's Covent Garden review - historical drama with seasonal spirit

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Iestyn Davies, Aurora Orchestra, Kings Place review - arresting musical miscellany

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Dmitri Ensemble, Ross, St John's Smith Square review - impressive minimalism for strings

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Juliana, Nova Music Opera, St John's Smith Square review - new version of a classic drama

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Prom 65, London Voices, BBCSO, Bychkov review - 20th century masterpieces hit home

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Prom 33, Schultz, Reuter, BBCSO, Farnes review - powerful Brahms Requiem

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Prom 31, Barnatan, Minnesota Orchestra, Vänskä - American classics take centre-stage

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Prom 12, Weilerstein, BBCSO, Canellakis review - energetic 20th century classics

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Prom 4, Simpson, BBCPO, Mena review - terrific Lindberg, brooding Shostakovich

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The Abduction from the Seraglio, The Grange Festival review - enjoyable if conventional production

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The Courtesan’s Gaze, Fieri Consort, Handel House review – historical female composers in context

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Ligeti Chamber Music, QEH review - inventive celebration of iconic composer

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Anna Meredith, Southbank Sinfonia, QEH review - triumphant genre-busting treat

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Donohoe, LPO, Orozco-Estrada, RFH review – wit aplenty in rare Stravinsky

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latest in today

MJ The Musical, Prince Edward Theatre review - glitzy jukebo...

In a secret chamber somewhere, the producers of ...

Bach's Easter Oratorio, OAE, Whelan, QEH review - the j...

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...

Album: Jane Weaver - Love In Constant Spectacle

“Motif,” Love In Constant Spectacle’s fourth track, is the closest Jane Weaver has come in over a decade to the folk influences embraced...

First Person: author-turned-actor Lydia Higman on a play tha...

I first read Anne Gunter’s story about five years ago, when I was in my first year of university at Oxford, little knowing it would over time lead...

The Origin of Evil review - Laure Calamy stars in gripping F...

A young woman (Laure Calamy; Call my Agent!; Full Time; Her Way) is trying to pluck up the courage to call her...

Foam, Finborough Theatre review - fascism and f*cking in a G...

In a too brightly tiled Gentlemen’s public convenience (Nitin Parmar’s beautifully realised set is as much a character as any of the men we meet...

Album: Ride - Interplay

What a time to be alive it is for fans of late Eighties, early Nineties ...

Schubert Piano Sonatas 4, Paul Lewis, Wigmore Hall review -...

“Death doesn’t scare me at all,” said my friend Christopher Hitchens during our last telephone conversation. “After all, it’s the only certainty...

Vossa Jazz 2024 review - Norwegian festival embraces William...

“The name of this group is Mayan Space Station.” In spite of the billing as The William Parker Trio, their bassist – coolly introducing himself as...