Sunday 5th June 2022 3.00pm Crazy Coqs, Brasserie Zédel Comparing Notes brings stars of the West End and Broadway to Crazy Coqs. In a lively and informal mix of performance and conversation host Edward Seckerson will be getting…
John Wilson is on a mission to bring his restorative ear to bear on Ravel’s orchestral catalogue – so expect more of insight and excellence from this source. Astonishing to think that a score as frequently performed…
The cello as cantor. And for Edgar Moreau the incantations plainly run deep. The ‘Transmission’ of the title goes from the heart to the heart, every prayerful inflection, every melismatic phrase invoking something as personal as it…
Recent times have taught us to take nothing for granted – so dare I get too excited about the rescheduling of live events with the great Dame Janet Baker with whom I shall be bound to three…
Something of a revelation, this disc, this programme (the Respighi was new to me) – and for the creator of Appassionato, Mathieu Herzog (late of the Ébene Quartet), something plainly close to his heart. Appassionato is a…
This final chapter of Adam Fischer’s distinctive, occasionally inspired, Mahler cycle draws to a close dare I say that it is nothing if not fatalistic that the traumatic Sixth should have coincided with the start of the…
I don’t think anyone would dispute that programme building is a real art. The structure, the proportions, the way chosen pieces impact upon each other. You can be creative but you can also be capricious. I’m thinking…
It’s 1992 and Sam Mendes’ celebrated staging of Sondheim and Weidman’s Assassins is in rehearsal at the Donmar Warehouse. In the green room Stephen Sondheim sits reading a copy of Gramophone during the lunch break (yes, really),…
Susanna Mälkki’s thrilling sojourn in Duke Bluebeard’s Castle was roundly welcomed by me in the June edition of Gramophone – and now on much more familiar ground she and the outstanding Helsinki Philharmonic Orchestra work more conspicuous…
How inspired of OperaGlass Works’ founders Selina Cadell and Eliza Thompson to identify Wilton’s venerable Music Hall as the perfect environment in which to reimagine Britten’s masterpiece The Turn of the Screw. But the projected run of…
