sat 18/05/2024

Peter Quantrill

Peter Quantrill's picture
Bio
Peter has written about music ever since completing his studies in the Classics. He contributes regularly to Gramophone, the Catholic Herald and The Strad, as well as writing for the Salzburg Festival, Warner Classics, Opera and Pianist magazines, among others. He also made significant contributions to Help your Kids with Music (Dorling Kindersley, 2015) and 1001 Classical Recordings (Cassell, rev 2016).

Articles By Peter Quantrill

Così fan tutte, Garsington Opera review - gambling with the highest stakes

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Siegfried, RINGafa, St Mary’s Putney review - heroes everywhere

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Bluebeard’s Castle 2: Komlósi, Relyea, LPO, Gardner, RFH review - consolations of solitude

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Crowe, BBCSSO, Volkov, BBC Proms review - shining light on history and heritage

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Brauss, BBC Philharmonic, Gernon, BBC Proms review - surprises and miracles in store

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King Lear, The Grange Festival review - friendship in adversity

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Das Lied von der Erde, Kožená, Staples, LSO, Rattle, Barbican online review - more joy than sorrow

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Siegfried, Göteborg Opera online review - a hero for our times

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Myaskovsky Dialogues, Yekaterinburg online review - revival and revelation

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Pavel Kolesnikov, Wigmore Hall online review - the joyful wisdom of the Goldbergs

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Paul Lewis, Wigmore Hall review – Classical consolations

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BSO, Karabits, The Lighthouse, Poole online review – stealing fire from the gods

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Istanbul International Music Festival online review – East-West flair and finesse

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Bernard Haitink: The Enigmatic Maestro, BBC Two review - saying goodbye with Bruckner

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Being Beethoven, BBC Four review – from grubby kid to grumpy genius

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Missa solemnis, BBCSO, Runnicles, Barbican review - affirmation in the face of adversity

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latest in today

Album: Barry Adamson - Cut to Black

Always looking dapper and always sounding cool, Barry Adamson is a man who nevertheless seems to be perpetually of another time. Giving off the...

Carmen, Glyndebourne review - total musical fusion

It’s what you dream of in opera but don’t often get: singers feeling free and liberated to give their best after weeks of preparation with a...

The Great Escape Festival 2024, Brighton review - a dip into...

Before reviewing The Great Escape, we must first deal with the elephant in the room. Or, in this case, the room that’s crushing the elephant, like...

Fawlty Towers: The Play, Apollo Theatre review - lightning s...

There are many definitions of bravery, and taking on the challenge of embodying John Cleese as Basil Fawlty in Cleese’s own stage...

Laufey, Royal Albert Hall review - fans in heaven

In many ways, Laufey’s emotionally charged, sold-out...

Bermondsey Tales: Fall of the Roman Empire review - dirty de...

What with the likes of Sexy Beast, Layer Cake, The Hatton Garden Job and the oeuvre of Guy Ritchie, the...

Album: Billie Eilish - Hit Me Hard and Soft

So Billie Eilish’s new album has had its worldwide midnight release,...

Dunedin Consort, Mulroy, Wigmore Hall review - songs of love...

The sixteen voices of the Dunedin Consort raided the large store of music inspired by the Song of Songs and the sonnets of Petrarch in a sensual...

People, Places and Things, Trafalgar Theatre review - a scin...

It’s unusual for a play to be revived with its original director and star, let alone a decade after they premiered the piece. But here we are,...

Withnail and I, Birmingham Rep review - Bruce Robinson’s 198...

Let’s put our cards firmly on the table here. I am a big fan of Bruce Robinson’s cinematic masterpiece about two out-of-work actors who live in...