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The London venue Stone Nest seems to be a hub for innovation: in March 2024, I attended a performance of Our Mother, starring Emma Kirkby and with the same ensemble as here, FIGURE. That was impressive, for sure, but MOURN, an examination of grief through multiple lenses, cut even deeper.
From Renaissance Italy to the timeless folk musics to ancien...
Almost always, criticism of Wagner and his work says more about the critic (and as often as not, his or her shortcomings) than about the composer’s legacy itself. To my mind, perhaps only two thinkers have ever really diagnosed what may be inherent flaws – or at least serious issues to contend with – in Wagner’s whole artistic and philosophical outlook. Theodor Adorno’s essen...
Two months from now, on 4 December 2026, the world will be commemorating the 50th anniversary of the death of Benjamin Britten. The Wigmore Hall, which saw so many premieres of his works and where he made his professional debut in 1942, is honouring the UK’s greatest composer of the 20th century with a series of concerts spread over several months. This recital, performed by ...
A 1977 opera by Thea Musgrave, not to be confused with Gaetano Donizetti’s 1835 Maria Stuarda. Unlike the bel canto execution of Mary (b. 1542, d. 1567), it is a careful, if dramaturgically modified history of her humiliation, and abdication as the queen of Scotland.
Thea Musgrave’s third opera is based on an unpublished play, Moray, writt...
It is cause for nationwide rejoicing that Opera Montana has commissioned and produced a nigh unto flawless World Premiere of a soulful, spirited and soaring operatic treatment of A River Runs Through It.
The lean, compact writing of Norman Maclean’s story, considered the unofficial state novel, was masterfully adapted, nay, downright elevated by Matt Foss a...