Music and Opera

When we describe music as ‘sublime’, what do we mean? For the Romans, sublimis signified greatness beyond measure. In the 18th century, Englishmen looked to The Spectator for clarification. Joseph Addison, in his Essay No. 339 of 1712, suggests that the sublime often achieves greatness without stirring up ‘pathetick’ human passions. The example he gives is Milton’s description, in Paradise Lost, of the Messiah looking down on his new Creation, ‘when every Part of Nature seem’d to rejoice in its Existence; when the Morning-Stars sang together, and all the Sons of God shouted for joy’. Whether a composition is sublime is essentially a matter of opinion. How odd, then, that

To hear Christian Thielemann conduct the Dresden Staatskapelle in Wagner’s ‘stage consecration play’, in Salzburg at Easter, proved a musical experience that could only deepen anybody’s love of this extraordinary opera. To see it was another matter, as it often is. But let us first praise the musicians who, guided by their conductor, gave it wings. At six minutes under four hours (battle-hardened Wagnerians will appreciate the timings) this was not a long Parsifal. By the standards of, say, Reggie Goodall, whose celebrated recording four decades ago clocked in at nearer five hours than four, it was something of a gallop, though it never felt like that, even when Thielemann,

Musicians have always had an uncertain social status in England, the traditional reactions varying from amused condescension to mild repulsion. The former was the old class-based judgment on men who had chosen to take up a profession which at best was associated with society women and at worst seemed menial; the latter directed towards brass players from rough backgrounds whose lips juggled pint pots with mouthpieces and not much else. The most respectable practitioners were probably organists, often referred to as ‘funny little men’, but taken seriously. As evidence of the class-based comment, this was Lord Chesterfield’s advice to his son towards the end of the 18th century: ‘If you

Since the birth of the peer-to-peer file-sharing service Napster in the late 1990s, the record industry has been the unwilling poster child for entire businesses being overthrown by the march of technology. The major labels, once all-powerful, now stand Ozymandias-like, looking out over their barren empires; an ailing HMV, long ago diagnosed as terminal, is finally in its death throes; and it looks increasingly unlikely that music will ever be paid for again. An industry that’s resorted to The X Factor is an industry in trouble. Michael Breidenbruecker is the co-founder of the music streaming and recommendation service Last.fm, one of London’s big tech success stories. ‘When we started in

All my life I’ve wanted to be able to write confidently about orchestral performances and I think I may have cracked it. So forgive me while I show off for a paragraph. In the last movement of Bruckner’s Seventh, Mariss Jansons and the Bavarian Radio Symphony Orchestra capture the jauntiness of the opening theme; there’s a twist of Haydn amid the grandeur. But it takes a long time for the brass and woodwind to settle down, and when Bruckner gathers his forces for a climax the conductor leans heavily on the gas pedal, as if he’s nearly missed a turning. No such problems with Karajan and the Berlin Philharmonic, where

André Léon Marie Nicolas Rieu is a Dutch violinist, conductor and composer best known for creating the Johann Strauss Orchestra. So says Wikipedia. But I know better. André Rieu is a cunning hypnotist who has lulled my mother into a zombified trance from which I cannot waken her. His televised open-air concerts, which now take up an entire Sky channel, play constantly in her home. The rapt hysteria of the assembled thousands is reflected in my dear mother’s visage and I fear for her, I really do. The dangers of the genre known as ‘popular classical’ are already well documented. Richard Clayderman, Vanessa-Mae, Lang Lang, the Classic FM chart with

I’m sure I’m not alone in feeling a bit sorry for Mike Harding. The long-serving host of BBC Radio 2’s ‘folk, roots and acoustic’ show was given the heave-ho last month, and the far-from-underemployed Mark Radcliffe took his place last week. One might ask what Harding had done wrong, and indeed Harding has been asking it repeatedly. He says he was sacked by phone and given no sensible reason for his dismissal. Ah, the freelance life! I have been sacked so many times from so many supposedly cushy numbers that they all meld into one vast megasacking, but as far as I remember, they rarely give a reason, or at

Come December, I often find myself writing a lot of quizzes. Not that I’m complaining: I love writing quizzes, and I really love being paid for writing quizzes. There’s a definite skill in crafting a decent question, and therefore considerable satisfaction in getting it right, tempered only by the unceasing fear of getting it completely wrong. (Like all writing, therefore.) All of us who toil in the quiz mines are naturally aware that we have our favourite subjects, our home territories if you like. I could go on writing increasingly abstruse questions about cricket or pop music far into the night, but I don’t, because the audience simply isn’t as

Attached to the ménage of every artistic outfit these days will be an employee who believes there is a magic formula which,  once found, will bring in millions of everything: fans, column inches, money. Perhaps all artists secretly believe that what we do must have universal appeal: our insights are simply too significant to be overlooked. The only reason why other people don’t come to our concerts, buy our discs, or otherwise frequent our places of high culture is that it hasn’t yet got through to them that we exist. They only have to be drawn in by the right kind of publicity and everybody will love what we do.