Classical

  • Review

Prom 54 review

A severely underpowered all-Mozart Prom wastes the starry talents of its orchestra and singers

  • Review

Prom 46: BBC SC/BBC SSO/Volkov, Royal Albert Hall, review

Spectralism was the label given to French composers who reacted to Serialism with natural acoustic sound, and Gérard Grisey was their leader. It has taken 40 years for his key work Dérives to get its British premiere

  • Review

The Queen of Spades, Opera Holland Park, review

The young Welsh soprano Natalya Romaniw was a hit in Tchaikovsky’s Eugene Onegin at Garsington last month and this performance could be her last before she becomes an international star

Why the other classical musics of the world deserve a place in UK conc

The British classical-music establishment is full of complacent cultural imperialism. Britain is now a very multi-ethnic society, but you’d never know that from its concert halls.  There’s an increasingly need for the other classical musics of the world to be given their proper place in UK concert programmes, says Michael Church

  • Review

La Fanciulla del West opera review

Puccini declared it "the best opera I’ve ever written", but history hasn’t generally agreed. Grange Park’s La Fanciulla del West (originally directed by Stephen Medcalf, revived by Peter Relton) shows, despite its shortcomings, why he might have thought so.

  • Review

Eugene Onegin, Garsington Opera, review

Negatives first. Michael Boyd’s production of Tchaikovsky’s flawlessly-constructed tragedy takes its cue from Kasper Holten’s disastrous Covent Garden take, and pushes further in the wrong direction. Boyd’s risen-again Lensky skips so obtrusively about the stage during Onegin’s post-duel wanderings that the hero’s grief is systematically upstaged, while the chorus is also systematically upstaged by dancers.

  • Review

Il Barbiere di Siviglia, Glyndebourne, review

The Leiser-Caurier “Barber” at Covent Garden has been the contemporary benchmark for productions of Rossini’s sparkling opera buffa, but Annabel Arden’s new one outdoes it through sheer visual sophistication.