Robin and Lucienne Day were the most glamorous, influential design couple in post-war Britain.
Striding onstage in his trademark Wolfie Smith black beret, jeans and shirt, Richard Thompson grins sheepishly at the applause, hefts his powder-blue Stratocaster and makes a few self-deprecating noises about being here at the Festival Hall yet again. It's now almost a second home for Tommo, who curated last year's Meltdown Festival here – and if the place ever needed a house band, they could do far worse than Thompson's current unit, whose members seem able to turn their hands to just about any style, in any metre required.
Bling on the dancers, but add an old hand
When the Royal Festival Hall was being refurbished, the Philharmonia moved next door.
Sprightly Cale still sparkles
Welsh National Opera gets up a good head of steam, and fragments of Gogol are a tantalisingly brief encounter
Fateful prophecies and exultant perorations – the enduring spirits of Leos Janacek and Josef Suk ascend from the valley of the shadow of death and another of Vladimir Jurowski’s beautifully crafted programmes for the London Philharmonic makes connections that will profoundly affect the way we hear these works in the future.
Letter uncovered in museum reveals how Edward Elgar was so bad at the trombone it made people laugh
After Trevor Nunn’s futile attempt to turn The Gershwins’ Porgy and Bess into a book and song musical how bracing to return to the through-sung original where only the whites get to speak – or rather are denied the gift of song.
The family that plays together...
It doesn't make the heart leap
As a Member of Parliament, Boris Johnson's expenses claims ranked among the more mundane (78p for a postage stamp here, the odd Diet Coke there). Naturally, Pandora would never suggest the same of the London Mayor himself; indeed quite the opposite.
Haydn's interpretation of Christ's last words and an exceptional reading of Bach's St Matthew Passion
Lyle Lovett has made his way in Hollywood and Nashville. But "That's Right (You're Not From Texas)" could be his keynote song during a more than two-hour show exploring his home state's most profound traditions. The four-piece band play bluegrass and Western Swing with classical precision. Lovett's deceptively strong voice can croon or croak, part of an equally precise yet elastic persona: sardonic, rowdy, undone or lost in reverie. His long, stone face recalls tragicomic Buster Keaton, and his songs hang suspended between shaggy dog tales and quiet desperation.
One might have expected a better turn-out for Sir Roger's 75th-birthday bash, especially since the highly eclectic programme – spanning some three centuries of music – contained a little bit of something for everyone. But maybe the Classic FM approach was unwise for an event of this kind, and maybe Norrington himself is still too much of a connoisseur's delight, too much of a maverick, ever to pull in the big crowds. And that's quite an irony, given that there are few more erudite, entertaining, communicative, or influential musicians on the planet. He is, in every sense, a one-off.
One might have expected a better turn out for Sir Roger’s 75th birthday bash – especially since the highly eclectic programme – spanning some three centuries of music – contained a little bit of something for everyone.