Tales of Hoffmann
Jessica Duchen examines the classical music sector’s ups and downs across the last three decades –...
Opinion
The Long View | Has Britain got the culture minister it needs?
In the cold corridors of Westminster, our fantasy culture minister might not be the best culture...
Operatic innovation
With funding for new work an ever-shrinking resource, conductor Lidiya Yankovskaya tailors her...
The Long View | The tragedy of Welsh National Opera’s decline
As the company crashes and burns in slow motion, Andrew Mellor argues that those outside Wales must...
What does the new Labour government mean for classical music?
Following a landslide victory in last week's general election, prime minister Keir Starmer has...
The Long View | What will Manchester feel like without Mark Elder?
For many of us, the Hallé Orchestra and Sir Mark Elder are one and the same – is anyone else...
From Birtwistle to Stormzy: why tradition must always be challenged
Composer Keith Burstein explores how music has changed in the three decades since The Hecklers booed...
Scoring for the silver screen: Patrick Savage on why film music should not be underestimated
Formerly first violin with the RPO and the Tippett Quartet and now a performer, concertmaster and...
The Long View | Can we leave marketing to the professionals?
ChatGPT may be terrible at marketing concerts and operas, but many musicians, artists and...
Trigger warnings: An act of empathy, not censorship
As theatrical capabilities allow live performance to reflect extreme violence ever more effectively,...
