Richard Bratby

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 Addison investigated the supply of live sparrows for the first production of Handel’s Rinaldo. ‘What, are they to be roasted?’ he asked, reasonably enough. No, they were

Grade: A– For some record collectors, the fun lies in comparing recordings of standard repertoire. For others, it’s more about exploring – discovering works that are extinct in the concert hall, but which the inscrutable economics of recording make viable. If you’ve a habit of forming modest crushes on wallflowers and unfashionable composers, the news

Covent Garden’s new Ring cycle has reached Siegfried, and once again, you can only marvel at Wagner’s Shakespeare-like ability to anticipate modern preoccupations. Want to talk about the manosphere? Well, here’s opera’s most profound study of the playful, disruptive, world-making energy of the adolescent male psyche. The least interesting thing that you can say about

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 one-man routines that finished long after midnight. A couple of years back, Schiff expressed a similar wish: why should he have to tell us in advance what he was

Bring me my bow of burning gold; or failing that, the opening notes of Elgar’s Second Symphony. That’s how I’ve always imagined them anyway, those three swelling B flats –  a mighty drawing back of the bow before Elgar propels his arrows of desire into the restless heart of this greatest of British symphonies. Thinking

Grade: A 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) was an improbable culture-hero; a belt tycoon from Blackheath who devoted his spare time (and most of his profits) to domestic music-making, commissioning major British composers of his

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 Great Wave. ‘Remember art won’t change the world,’ sings the great painter (as incarnated by the baritone Daisuke Ohyama), and for that line alone I’d gladly have given

Gianandrea Noseda conducted the London Symphony Orchestra last week in a programme of Stravinsky, Chopin and Borodin. The Stravinsky was a relative rarity – the divertimento from The Fairy’s Kiss – and Chopin’s F minor concerto was played by Seong-Jin Cho, a pianist with a large following and a soaring reputation. Full disclosure: I was

The early music movement: it’s grown up so quickly, hasn’t it? The Orchestra of the Age of Enlightenment is 40 years old in 2026 and if you can remember its debut, back in the 1980s when Beethoven on period instruments was pretty much the wildest thing going, you’re going to feel terribly, terribly old. Right

Mussorgsky’s Boris Godunov is back at Covent Garden, and there are ninjas. This isn’t a spoiler. There hasn’t been a note of music at this point, and it’s almost the first thing you see. A ginger child in a weird mask is playing with a spinning top when the black-clad assassins stalk on and slit

Grade: A It’s a cliché that the best Spanish music was written by Frenchmen but it’s mostly true nonetheless, and here to prove the point is Domingo Hindoyan and the Royal Liverpool Philharmonic Orchestra. Debussy’s Iberia and Ravel’s Rapsodie Espagnole form the balmy, orange-scented heart of this Franco-Spanish album, featuring not a single note by

The Czech author Karel Capek is probably best known for his plays: high-concept speculative dramas such as R.U.R. and The Insect Play, bristling with wit and ideas. But he paid his bills as a newspaper columnist, and he seems to have been pleasantly surprised when Janacek approached him about turning his ‘conversational, fairly unpoetical and

First opera of the year, first night back in London, and the jolly old metrop was already springing surprises. A hulking pink Rolls-Royce was parked on Bow Street – a real oaf of a car, the lumpish nepo-baby of a Humvee and Lady Penelope’s Fab 1. And as we stood outside the Royal Opera House,

The quartet is the basic unit of string chamber music. Two violins, a viola and a cello: subtract any one of those, and you’re walking a tightrope. Add further players and the issue is redundancy: you’d better know precisely what you want to do with those additional voices, because otherwise they’ll congeal like cold gravy.

‘What we want is proper comedy!’ bellows the male chorus in the opening seconds of Prokofiev’s L’amour des trois oranges – in this case, a bevy of Monty Python bruisers in nylon frocks. The audience stirs. We’re being invaded by outsize schoolkids and what looks like a Scandinavian Eurovision entry, pushing through the stalls to