Orchestras

Thursday

Richard Bratby

Clear, complex and gripping: Opera North’s Rigoletto reviewed

Say what you like about that Duke of Mantua, but he’s basically an OK sort of bloke. A bit of an arse, sure; the kind of TOWIE-adjacent, skinny jean-wearing reality star who’d commission photographic portraits of himself and recruit an entourage of hipsters and B-boy wannabes. But really, his worst crimes are against taste. His neon-lit crib might be hung with hideous religious art, but his parties are relatively free of the nudity, quaffing and non-consensual dry-humping that tends to characterise Act One of Verdi’s Rigoletto. In Femi Elufowoju Jr’s new staging for Opera North, the Duke lays on a hog roast for his posse but doesn’t forget to order

Thursday

The Spectator

Letters: How to revive Britain’s orchestras

Good conductors Sir: Yes, it is sad to see talents like Sir Simon Rattle and Mirga Gražinyte-Tyla leaving our shores (‘Rattled’, 30 January) and yes, the Brexit complications faced by British musicians are ludicrous. But both might be bearable if there were sufficient investment in grass-roots music here. At least then we could hope that the gap left by departing maestri would be quickly filled by homegrown talent. Unfortunately, the government continues to turn a blind eye to musical education, despite the many studies evidencing its benefits. Even before Covid-19 restrictions drove a stake through the sector, a recent report by the All-Party Parliamentary Group for Music Education showed that

Thursday

Richard Bratby

Portrait of the Royal Liverpool Philharmonic – Britain’s oldest and ballsiest orchestra

Liverpool’s last ocean liner lies half a mile inland, on the crest of a hill. The Philharmonic Hall, home of the Royal Liverpool Philharmonic Orchestra, sits between two cathedrals on Hope Street, its towers jutting over the city like twin prows. It’s an unavoidable metaphor: when you enter the Hall on a concert night, the first thing you see is a bronze memorial to the musicians of the Titanic. Everything about the Hall — the grand staircase; the long curving corridors; the art deco auditorium that looks like something from Alexander Korda’s Things to Come — suggests that you’re about to steam off on some fantastic voyage. I’ve heard concerts

Thursday

Richard Bratby

The musical event of the year: Wigmore Hall BBC Radio 3 Special Broadcasts reviewed

Remember when 2020 was going to be Beethoven year? There were going to be cycles and festivals, recordings and reappraisals; and if you weren’t actively promoting old Ludwig Van there was money to be made whinging about overkill. So was Stephen Hough’s decision to end his Wigmore Hall recital last Monday with Schumann’s Fantasie in C — a work conceived at least partly in homage to Beethoven, which opens with a fragmented musical landscape that Schumann at one point called ‘Ruins’ — a conscious reflection of the musical world’s changed circumstances? Or would that be reading too much into a situation in which a once-routine lunchtime concert suddenly feels like