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Musical notes

Jonathan Kent's Tosca was a lifeless affair. And David McVicar's Figaro was overly restrained, unlike his Giulio Cesare, which was tremendous in a bawdy sort of way
Stephen Everson  

Musical notes

Till Fellner keeps rhetorical excess at bay in his performance of Schubert's last sonatas, while a Janá?cek opera is not quite ruined by a silly production
Stephen Everson  

Musical notes

Moments of unintended hilarity lighten an otherwise second-rate production of Wagner's Ring. But Haitink's Beethoven cycle with the LSO is exceptional
Stephen Everson  

Musical notes

Riccardo Chailly is sick and tired of young conductors and singers, but his move to the Leipzig Opera and Gewandhaus Orchestra is a welcome one
Stephen Everson  

Musical notes

An intriguing programme at the QEH highlights the transformative effect of Hungarian folk music on Bela Bartók—and vice versa
Stephen Everson  

Musical notes

Iván Fischer's Budapest Festival Orchestra prove that Bartók was the 20th century's greatest. And why is Radio 4 encouraging us to fast-forward Beethoven's 9th?
Stephen Everson  

Abbado on film

The move from CD to DVD in classical recordings can mean seeing too much of the orchestra. Not so with Claudio Abbado conducting Mahler
Stephen Everson  

Musical notes

Berlioz was so good that I left before the Beethoven. St John Passion would have been better with a proper interval instead of a poetry reading
Stephen Everson  

Musical notes

Mahler strived for the Wagnerian ideal of the Gesamtkunstwerk—opera as a total work of art. The Kirov failed to attain this at Covent Garden
Stephen Everson  

Musical notes

Paul Daniel's last appearance as the ENO's music director was a triumph under the circumstances. And the ENO forgets the point of performing in the vernacular
Stephen Everson  

Musical notes

The St Matthew Passion at the Cadogan Hall revealed the depth of British tenor talent, but the Ring at Covent Garden is so far only a partial success
Stephen Everson