‘Who is Pierre Boulez’ was the title of a brilliantly illuminating film made by Roger Graef in 1968. Screened to kick off the Barbican’s ‘total immersion’ day, with concerts by the BBC Symphony Orchestra under Pablo Rus Broseta and Thierry Fischer, that question got a clear answer.
Maurizio Pollini’s recitals always flirt with failure. This one began with Schumann’s Arabeske played in an artlessly singing tone which allowed its delicately surfacing uncertainties to come across without false inflation.
This week visiting Truro and Poole, next week Norwich and Sheffield, English Touring Opera are back on tour, in top form and with three superb productions, two of which are rarities.
John Fulljames’s production of Mahagonny makes the most of the irony that this Brecht-Weill assault on capitalism should be staged in Britain’s most bank-rolled opera house, with self-mocking slogans flashed up thick and fast.
With the ever-fertile musical imagination of Unsuk Chin, and with Netia Jones’s characteristically brilliant meld of projected graphics and live action; with pen-and-ink-blot drawings by veteran cartoonist Ralph Steadman, and with a libretto-on-speed by the prolific David Henry Hwang, this opera on Lewis Carroll’s evergreen fable was a show of all the talents, and in the American soprano Rochele Gilmore it had the ideal performer for the title role.
It has been the worst kept secret in the arts world. The London Symphony Orchestra has long been the most likely destination for Britain’s most illustrious conductor when his contract with the Berlin Philharmonic runs out. Yet the announcement kept being delayed.
The world-renowned conductor Sir Simon Rattle is “coming home” to take over as music director at the London Symphony Orchestra (LSO) – but has insisted his move is not contingent on his wishes for a new concert hall in the capital being granted.
Sir Simon Rattle, one of the world's most acclaimed conductors, is to “come home” to the UK after he was appointed music director of the London Symphony Orchestra.
The classical music industry needs to confront gender stereotypes which are preventing female composers winning recognition, Radio 3 presenter Sara Mohr-Pietsch has said.
Road-tested in Spain and Russia, Peter Sellars’ typically audacious completion of Purcell’s ‘semi-opera’ The Indian Queen has now arrived in London.
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