The Sixteen’s Harry Christophers on programming for the festive season
Starting each year with a blank sheet of paper, Harry Christophers, founder and conductor of The...
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‘All opera's women are fighters’: Rosetta Cucchi on Wexford Festival Opera’s 2023 programme
With this year’s festival centred around the theme of ‘Women and War’, Simon Mundy sits down with...
noisenights: A hit with all kinds
Bars and clubs might not be classical music’s natural habitat, but crowdfunded event organisers...
The ‘Roberto effect’: Roberto González-Monjas on adapting to new ensembles
With performances characterised not only by his profound understanding of the music, but also by the...
‘Let’s do something, people!’ The Gstaad Menuhin Festival embraces change
Colin Clarke talks to artistic director Christoph Müller and festival regular Patricia...
Locks and Liszt: How The Piano Boat brings concerts to the canals
Rhiana Henderson and Masayuki Tayama, the team behind The Piano Boat, talk about how they turned...
'Artistically we are a democracy': What the Ragazze Quartet can teach us about collaboration
Florence Lockheart delves into the ‘collective brain’ of the Quartet with members Rebecca Wise,...
Kristjan Järvi on ‘shaping the music at all levels’ with the Baltic Sea Philharmonic
Simon Mundy talks to the Baltic Sea Philharmonic co-founder and music director about escaping...
'Every rarity is a risk': Jeremy Gray on three decades of Bampton Classical Opera
As the company celebrates its 30th birthday today, co-artistic director Jeremy Gray, who set up...
Keeping score: why are the scores of underrepresented composers riddled with mistakes?
Violinist Elena Urioste and pianist Tom Poster discovered hundreds of mistakes in the scores they...