Richard Bratby is the chief classical music critic of The Spectator
When Erich Wolfgang Korngold completed his third opera, Die tote Stadt, in August 1920, he’d barely turned 23. Yet such was his reputation that what followed was practically a Europe-wide bidding war for rights to the première. The young composer had his pick of companies and conductors (the Vienna State Opera tried and failed). In
You’ve got to hand it to Dame Ethel Smyth. Working in an era when to be a British composer implied an automatic cultural cringe towards the continent, she didn’t miss a beat when Henry Brewster, the librettist of her 1906 opera The Wreckers, chose to write in French. The incoming music director at Covent Garden
April is the cruellest month, but May is shaping up quite pleasantly and the daylight streamed in through the east window of St Martin-in-the-Fields at the start of I Fagiolini’s latest concept-concert, Re-Wilding The Waste Land. The centenary of Eliot’s poem is the obvious hook. But whether you’re counting from the Rite of Spring riot
Imagine growing up with a whole orchestra as your plaything. Richard Strauss’s father was the principal horn of the Munich Opera, and doting relatives funded publication of the teenage Richard’s earliest compositions. At the age of 19 he was assistant conductor of the Court Orchestra in Meiningen, and had rather got used to having world-class
There are many things to enjoy in the Royal Opera’s revival of Donizetti’s Don Pasquale, but perhaps the most surprising is that the director plays it straight. This was my first encounter with Damiano Michieletto’s newish (2019) staging, and the plan was to approach it without preconceptions. (If we’re about to experience, say, a Bold
To be a Wagnerite is to enter the theatre in a state of paranoia. Mainstream culture has decided that Wagner was uniquely wicked; that’s just how it is, and it’s futile to retort that we seem comparatively relaxed about, say, Richard Strauss’s membership of the Reichsmusikkammer, or Stravinsky’s post-1945 anti-Semitism. Or that within recent memory
Music and politics don’t mix, runs the platitude. Looks a bit tattered now, doesn’t it? For Soviet musicians, of course, it wasn’t a question of whether you were interested in politics. Politics was unambiguously interested in you. Shostakovich wrote his 24 Preludes and Fugues for piano between 1950 and 1951, in the teeth of Stalin’s
Utopia, Limited (1893) is a rare bird, and one that every Gilbert and Sullivan completist simply has to bag. The point of completism, of course, is to acquire an overview: if artists are truly original, everything they created should illuminate the whole. But what if a career tailed off, or ran to seed? It’s just
Blame it on Serge Diaghilev. Rimsky-Korsakov died in 1908 and never saw the première of his last opera, The Golden Cockerel. When the great showman finally presented it in Paris in 1914, it was as Le Coq d’Or: a spectacular opera-ballet hybrid, with colourful, folk-inspired designs by Natalia Goncharova that came to define the Ballets
No question, the Royal Opera is on a roll. Just look at the cast list alone for Deborah Warner’s new production of Britten’s Peter Grimes. Allan Clayton sings Grimes, Bryn Terfel is Captain Balstrode, and John Tomlinson is Swallow, with Mark Elder conducting. Even before you get to a supporting cast that includes premium names
Scottish Opera’s new production of Britten’s A Midsummer Night’s Dream seems to open in midwinter. Snow falls, fairies hurl snowballs and the aurora borealis flickers and arcs across the darkened sky. Meanwhile Britten’s score swoons and sighs, its drowsy clouds of string tone wafting above gently snoring basses to create an atmosphere whose every glimmer
I think it was when she leaned forward and balanced on one leg that Barbara Hannigan jumped the shark. It wasn’t just a question of physical agility, although that was impressive enough. Hannigan performed her on-the-spot acrobatics while singing; the results were projected on to a big screen by three remote-controlled cameras, which zoomed in
Spoiler alert. The last words in Janacek’s The Cunning Little Vixen come from a child playing a frog. The story has come full circle — there was a frog near the start of Act One, and naturally you assume it’s the same one. But no: ‘That wasn’t me. That was my grandaddy. He used to
London felt like its old self on Friday night. Possibly it was just me; when you visit the capital once a week, your impressions will only ever be snapshots. Still, it’s been a while since I’ve battled such a flood tide of commuters on the ramp at Euston, or since the Royal Opera House seemed
The Royal Opera has come over all baroque. In the Linbury Theatre, they’re hosting Irish National Opera’s production of Vivaldi’s 1735 carnival opera Bajazet; unsurprisingly, its first appearance at Covent Garden. Upstairs in the big room, they’re doing Handel’s Theodora: premièred at Covent Garden in March 1750 and then ignored by the Royal Opera and
To look at a picture of Ralph Vaughan Williams is like contemplating an image of a mountain. Not the elegant, keen-eyed Edwardian intellectual whom we sometimes glimpse on CD sleeves or in concert programmes; I’m thinking of the portraits from the last decade of his long life. By the 1950s ‘RVW’ had been the father
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
Nabucco, said Giuseppe Verdi, ‘was born under a lucky star’. It was both his last throw of the dice and his first undisputed hit, composed after the failure of Un giorno di regno and the death of his young wife and two children had driven him to abandon music outright. The story (at least, as
Sir Simon Rattle and the London Symphony Orchestra began the year with a world première. Unsuk Chin’s Second Violin Concerto opened with the soloist, Leonidas Kavakos, completely alone in front of a silent orchestra, playing phrases that rocked back and forth until, suddenly, they were striking sparks. As well they might; Kavakos, after all, is
It’s 2022 and classical music is, again, dead. It’d be surprising if it wasn’t. In 2014 the New Yorker published a timeline by the industry analyst Andy Doe showing the precise chronology of the decline and fall. Ageing audiences in the 21st century, the gramophone in the 20th, the dangerous new technology of the pianoforte
