A first outing since 2007’s Versatile Heart, and there’s been no discernible falling off. The voice will never return to its pre-dysphonic mobility, but that doesn’t mean it isn’t a highly expressive instrument of significant tone – mournful, knowing and creased with experience.
Music Composing And Composers
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Barbara Hannigan, Reinbert de Leeuw, Quatuor Diotima, The Rest Is Noise, Queen Elizabeth Hall, London
Friday 25 January 2013
Schoenberg’s second string quartet caused a bigger riot than anything else he composed: after the first bar of the second movement his Viennese audience burst into laughter, and went on disrupting it until the coda mysteriously calmed them down.
Monday 31 December 2012
Soprano Rebecca Bottone is one of the most versatile performers on the operatic stage today. She gets her charisma from her father, the tenor Bonaventura Bottone, but her chameleon ability is all her own.
Saturday 15 December 2012
Wednesday 05 December 2012
It’s usually taken as axiomatic that while pianists reach their technical peak at twenty, they need much longer to hone their artistry, and one of the merits of the Southbank’s current International Piano Series is that it’s allowing us to test this view against reality.
Tuesday 04 December 2012
Sunday 02 December 2012
This collection of collaborative covers trawls Holland's Hootenanny shows, with a dozen specially recorded tunes thrown in.
Sunday 25 November 2012
... but that doesn't mean you have to keep on re-recording them. Gillian Orr wonders if there's ever any point in a rock'n'roll do-over
Friday 19 October 2012
The sacking of BBC folk radio DJ Mike Harding is a sad end for one of broadcasting's most tireless characters
Sunday 15 July 2012
Dub Colossus's young Ethiopian pianist is an incandescent talent.
Sunday 15 July 2012
The Giants (84 mins, 15)
Three boys in their early teen years, having been abandoned by their parents, roam the Belgian countryside having both sad and funny misadventures one summer.
Friday 06 July 2012
There could be no Bryn Fest (Terfel, that is) without show tunes. But the spectacle of the great Welsh bass-baritone arriving on stage sporting a wrap-around "Madonna" mic is not one I care to repeat in a hurry. He wasn’t alone, of course, but such ugly, obtrusive, devices had no place in The Golden Age of Broadway where the great and the good somehow managed without them - and even in the age of radio head-mics adequate amplification can generally be managed with a high degree of invisibility. This wasn’t the O2 Arena, it was the Royal Festival Hall. So why?
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