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.
In the Eighties Ivo Pogorelich was the hottest pianist on the planet, combining haute couture with a fabulous technique and very individual artistry.
These are grim times at English National Opera. Earlier this month the company, which occupies the London Coliseum, the capital's largest theatre, was placed in "special measures" by Arts Council England: it has two years to shape up or face the funding axe. Its chairman, Martyn Rose, and executive director, Henriette Götz, had resigned within two weeks of each other, while the artistic director, John Berry, holds on despite a barrage of criticism; vision, finance and politics both internal and external seem much at odds.
Sam Haywood, a leading British concert pianist, was in dazzling command of a particularly challenging piece when the chair to his left "got too close to the edge of the stage," he recalls. The unnamed woman, who had been sitting on it with rapt attention, dressed inconspicuously in black, "just… disappeared. One moment she was there and the next she wasn't".
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