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Rae Woodland: Singer hailed for her performances as Queen of the Night in 'The Magic Flute' at Sadler's Wells and Glyndebourne
Wednesday 15 January 2014
I first heard Rae Woodland at the Nottingham Albert Hall in the mid-1960s when she sang the soprano solos at one of the Nottingham Harmonic Society's annual performances of Handel's Messiah.
Sunday 29 December 2013
Jazz composer and saxophonist who worked with Dizzy Gillespie and whose playing influenced John Coltrane
Wednesday 02 October 2013
Amy Dickson, the Australian musician who elevated the saxophone from the nightclub to the concert hall, has been named Breakthrough Artist of the Year at the Classic Brits, marking the first victory for the instrument.
Sunday 22 September 2013
Murder, humiliation, self-sacrifice, revenge … it’s all in a day’s work for Verdi’s heroes and villains, given voice on this full-throttle compilation by the go-to tenor of his generation.
Saturday 07 September 2013
Mozart’s Clarinet Quintet was a literally unique combination at the time he wrote it, requiring a judicious balance of parts: usually when an extra instrument was added to the quartet format it would involve two violas, but here the use of two violins leads to refinement in the higher register, rather than more clutter.
Saturday 17 August 2013
Notes Inégales weave skeins of klezmer around Will Self's digital essay, its touchstone Kafka's 1919 story, A Country Doctor.
Wednesday 31 July 2013
Using the pseudonym William Mysterious, Alastair Donaldson played saxophone and bass guitar with the Scottish punk band the Rezillos. Combining a sci-fi, day-glo aesthetic, references to Thunderbirds and The Flintstones, and a fast, fun take on 1960s beat music, the group burst on to the Edinburgh scene in January 1977 and later that year signed to Seymour Stein's Sire Records, the home of New York punk-pioneers the Ramones and Richard Hell. Credited as Mysterious on their exuberant debut Can't Stand the Rezillos, which made the Top 20 in August 1978, Donaldson left before the band appeared on Top of the Pops to promote their paean to the very same television show but returned to contribute to their swansong release, Mission Accomplished... But the Beat Goes On, recorded live at the Glasgow Apollo on 23 December 1978.
Saturday 29 June 2013
Something very exciting happens in Philippe Herreweghe’s recording of Mozart’s last three symphonies.
Album review: Les Siècles, François-Xavier Roth, Debussy: La Mer, Première Suite d'Orchestre (Musicales Actes Sud/ Harmonia Mundi)
Friday 28 June 2013
Usually, period-instrument performance involves the wielding of antiquaria like sackbut and theorbo in renaissance settings.
Tuesday 25 June 2013
Polish your Spanish or life drawing skills, or learn to forage and then cook your harvest with this range of engrossing courses
Saturday 22 June 2013
Francesco Piemontesi brings together two oddities: Schumann's Piano Concerto is a dreamlike dialogue between soloist and orchestra, while Dvorák's rather dull work has slid into obscurity.
Friday 07 June 2013
This third offering from These New Puritans is distinctly uneasy listening. Poised on the cusp of indie and classical, there is a laborious, tortuous formality about songs such as “Fragment Two” and “V”, with their peculiar, jerky time-signatures and lowering orchestrations.
Friday 07 June 2013
KT Tunstall's fourth album is by some distance her best, offering a series of deeply-felt musings on mortality, mercy and memory. Recorded at Howe Gelb's Wavelab Studio in Arizona in two sessions separated by a season – hence the different titles for the separate “sides” – it reflects her response to the death of her father, the first side's sensitive, reactions gradually supplanted by a new emotional light as her branches become strong enough to “play with the wind” and “carry the snow” again.
Saturday 18 May 2013
Recorded by the sea in Aldeburgh, Herbert's sort-of concept album is changeable as the ocean.
Friday 10 May 2013
The teaming of Mark Lanegan with multi-instrumentalist bluesman Duke Garwood is an alliance of congruent attitudes and approaches, Garwood's layered guitar lines and soft shaker percussion forming an apt backdrop to Lanegan's weathered baritone on the gospel-blues of "Pentecostal", while more saturnine drones and loops colour the darker concerns of "Death Rides a White Horse" and "Thank You".
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Liberal Democrat minister defends comments suggesting immigration causes pub closures
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