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Richard BratbyThe Spectator |
On the first night of Welsh National Opera’s new Flying Dutchman, the company’s co-directors walked on stage to salute their departing music...
Anyone for a spot of acoustic science? Apparently the distinctive colour of a musical note is concentrated almost wholly in the attack: the first...
Never let it be said that The Spectator fails to follow up an arts story. Long-term readers will recall that in the edition of 6 March 1711 Joseph...
Covent Garden’s new Ring cycle has reached Siegfried, and once again, you can only marvel at Wagner’s Shakespeare-like ability to anticipate...
For some record collectors, the fun lies in comparing recordings of standard repertoire. For others, it’s more about exploring – discovering works...
Covent Garden’s new Ring cycle has reached Siegfried, and once again, you can only marvel at Wagner’s Shakespeare-like ability to anticipate...
Is Sir Andras Schiff becoming the Ken Dodd of the piano? In his later years, you’ll recall, the Yorick of Knotty Ash took to delivering marathon...
By the end of Siegfried, the third opera in Wagner’s Der Ring des Nibelungen, the king of the gods is in freefall. In the first opera, Das...
By the end of Siegfried, the third opera in Wagner’s Der Ring des Nibelungen, the king of the gods is in freefall. In the first opera, Das...
You think you know a musical genre; then a new recording comes along and pulls something unexpected out of the bag. Walter Willson Cobbett (1847-1937)...
Some people like art to have a message. So here’s one, delivered by Katsushika Hokusai near the end of Dai Fujikura and Harry Ross’s new opera The...
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