Originally a BBC music librarian, Corp transitioned to conducting as a result of persistent requests to lead choir rehearsals. In 1988, he established the New London Orchestra (NLO), where he introduced audiences to the rich repertoire of late 19th and early 20th-century music. Following the NLO, in 1991 he founded the New London Children’s Choir, aimed at inspiring young people to engage with music through singing and performance.

Corp’s dedication to adult choirs was also significant. He recently marked his 40th year as musical director of Highgate Choral Society with a performance at Cadogan Hall featuring his new cantata Phoenix from the Ashes. This poignant work included poetry by authors like Rudyard Kipling and Emily Dickinson, written in memory of a choir member affected by the Swiss Verdingkinder system.

On stage, Corp was known for his vibrant conducting style, fostering enthusiasm and energy during rehearsals. He remarked to the Hampstead & Highgate Express, “My approach is to keep everybody on the boil. Some people don’t like my rehearsal style, but I like to get through a lot each week.” Corp also had a passion for reviving lesser-known works, such as Rutland Boughton’s The Queen of Cornwall and various compositions by Arthur Sullivan, whom Corp admired since his school days.

This commitment to neglected music extended beyond British composers. He discovered Czech composer Bohuslav Martinu through Antony Hopkins’s radio series Talking About Music, leading the NLO to feature a Martinu work in its concerts for two consecutive years. Corp also supported Polish composer Grazyna Bacewicz by recording her energetic compositions for string orchestra.

In terms of his own creations, Corp’s works include symphonies, piano concertos, and string quartets. His first string quartet, known as The Bustard, premiered by the Maggini Quartet at Wigmore Hall in 2008. Additionally, he created Dhammapada, a piece blending sacred Buddhist texts with recordings from Buddhist temples, showcasing a non-Western philosophical perspective while grounding itself in the Anglican choral tradition.

Though his choral music was well-received, some critics expressed concerns over its accessibility. A Gramophone reviewer noted that his music might be too easy on the ear, offering pleasant yet not significantly innovative compositions for choral societies. Nonetheless, Corp prioritized his legacy as a composer, stating, “On reflection, I think it’s the composing that I would most want to be remembered for.”

Corp’s life was also deeply rooted in his Anglican faith. He resonated with the concept of service, recalling the prophet Isaiah’s words, “Here I am, use me.” Throughout his journey, he grappled with the duality of being both an accomplished musician and a devoted clergyman. He expressed, “Once ordained, one is always a priest. It isn’t a part-time calling,” and shared how he often felt the weight of this duality.

Born on January 4, 1951, in Cathedral Green, Wells, Somerset, Corp had an early love for music. His childhood home was modest, situated above a solicitor’s office where his mother worked as a cleaner. He fondly remembered the sounds of the cathedral bells that filled his early years. Despite his parents not being churchgoers, music was a constant presence in their home, especially through the radio.

His interest in music blossomed during his school years, where he often performed solos. Corp learned piano at the age of ten and later joined St Cuthbert’s church choir in Wells, further fueling his passion for music and spirituality.

As a student at Blue School, he began composing, creating unique manuscript paper for his compositions, sometimes writing a piece every day. By the time he attended Christ Church, Oxford, he had accumulated over 1,000 compositions, although he ultimately discarded much of it.

Corp anticipated an academic career focusing on Victorian oratorio. However, after a chance visit to the BBC, he spent 14 years working in music library services, occasionally producing and presenting for Radio 3. His conducting career expanded with roles in various choral groups, ultimately leading him to leave the BBC and focus on his own choral initiatives.

His ministry calling resurfaced throughout his life, initially stirred during youth church holidays. In the mid-1990s, Corp dedicated three years to studying for holy orders, culminating in his ordination and service in several churches known for their musical traditions.

Corp maintained close ties with music festivals, such as the Three Choirs, where he recently presented his composition Hail and Farewell with the BBC National Orchestra of Wales. His planned performance of Letters from Lony in Hereford will be held in his honor following his passing. Notably, he also conducted at a birthday party for television personality Sharon Osbourne, highlighting his diverse musical experiences.

The Rev Ronald Corp OBE, a distinguished conductor, composer, and clergyman, passed away on May 7, 2025, at the age of 74 after a prolonged illness.

Mijnssen takes creative liberties, transforming Wagner’s final and most mystically charged opera into an extended familial drama set in 1882, the year ‘Parsifal’ debuted. The staging by Ben Baur reflects the ornate walls and heavy drapery of a Victorian parlor. In this reimagining, Amfortas, the tormented king, and Klingsor, the antagonist, are redefined as estranged siblings, with references to the biblical tale of Cain and Abel projected at the outset. Kundry, the troubled woman, is depicted as a sorrowful family servant, while Parsifal takes on the role of a mediator fostering family reconciliation rather than the traditional ‘innocent fool’ imbued with redemptive power.

By framing Wagner’s work in a psychological context reminiscent of Chekhov, the narrative appears more relatable, yet it veers away from the composer’s original vision of a grand, cosmic ritual where ‘time becomes space’ as articulated in one of the opera’s most esteemed lines.

Nonetheless, Mijnssen enhances the production with dynamic visuals. Whenever a character reminisces about past events, the drapes part to reveal actors mimicking the narrative. The character Titurel makes a continuous presence during Act I, allowing John Tomlinson to captivate the audience despite minimal singing. The director also excels in orchestrating large ensemble scenes, including a strikingly eerie funeral procession and elaborate religious ceremonies, complemented by a witty ensemble of Flower Maidens reminiscent of Kundry.

The role of Kundry is powerfully portrayed by Kristina Stanek, who balances a compelling mix of aggressive undertones and poignant desire. The strong ensemble cast also features John Relyea as the weary Gurnemanz, Audun Iversen as the despairing Amfortas, Ryan Speedo Green as the unpredictable Klingsor, and Daniel Johansson as the conciliatory Parsifal, who experienced a dip in vocal strength in Act II but regained his presence in the final act. The chorus delivers an exhilarating performance, while the London Philharmonic showcases depth and sensitivity in their playing. Although I had initial concerns regarding Robin Ticciati’s pacing of this already expansive score, Act II became invigorating under his direction, guiding the opera to a beautifully tranquil conclusion.

Running time: 380 minutes (includes dinner interval). The production will be showing until June 24.

This evening unfolded like two distinct concerts merged into one, showcasing Mussorgsky’s Night on the Bare Mountain alongside Strauss’s Alpine Symphony, all while featuring the 21-year-old Lim, who is quickly ascending in the classical music scene.

Despite his immense popularity, Lim’s artistry is characterized by a delicate touch and an elegant phrasing style. His interpretation of Chopin’s F minor Piano Concerto showcased a refreshing absence of sentimentality. The central movement felt more like a meditative prayer rather than a typical love song, which provided an invigorating change of pace.

At times, Lim’s subtlety may have seemed overly cautious for such a grand venue. Even from a great distance, I could appreciate his crystalline tone—his technical prowess evident. However, injecting a bit more dramatic intensity could have elevated the performance further.

Nonetheless, an enchanting moment occurred during the first of two encores when Lim played Variation 13 from the Goldberg Variations. In a captivating turn, the expansive hall transformed into an intimate salon, entrancing the audience.

Ultimately, the night was defined by the experience, and the RPO’s rendition of Strauss’s Alpine Symphony delivered an exhilarating auditory adventure. Conductor Vasily Petrenko led an orchestra bursting with enthusiasm, masterfully navigating dynamic contrasts, evident not only in Strauss’s work but also during the vibrant Mussorgsky that kicked off the concert.

The journey through Strauss’s landscapes can at times feel leisurely, particularly for conductors who savor every detail; however, Petrenko maintained a firm direction while allowing for outstanding solo performances from musicians like oboist John Roberts and flautist Emer McDonough. Richard Gowers also made notable contributions, effectively enhancing the overall experience. A recording of Strauss’s work is expected to be released soon due to a new partnership between the RPO and Harmonia Mundi. ★★★★★

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The impression of Schreker’s Kammersymphonie (Chamber Symphony), showcased by the BBC Symphony Orchestra during their season finale at the Barbican, embodies this thought. The 25-minute composition intricately weaves notes into a captivating tapestry, with ever-changing hues and textures, where even hints of melody seem to evaporate. The harp and celesta add a sparkling freshness, while the harmonium introduces a rich warmth, and the interplay of strings, beyond the original arrangement for 23 solo instruments, lends a lush depth to the performance.

Conductor Mark Elder adopted an impressionistic approach rather than an expressionistic one; at certain moments, the music evoked the essence of Delius, while in others, its shimmering surface offered a nod to Korngold. The influence of late Romanticism, particularly the works of Mahler, resonated throughout the concert, with Das Lied von der Erde being the focal point of the evening.

After the ethereal quality of Schreker’s piece, Mahler’s music offered a striking vibrancy. While not every segment of the performance was flawlessly refined, and Elder’s interpretation occasionally lacked spontaneity, the BBC Symphony Orchestra exhibited remarkable energy, complemented by stellar soloists.

Tenor David Butt Philip delivered a commanding and emotionally charged performance, skillfully navigating the challenges of Das Trinklied vom Jammer der Erde (Drinking Song of Earth’s Misery), while also maintaining a buoyant tone in Von der Jugend (Youth). Meanwhile, mezzo-soprano Alice Coote deeply explored the emotional resonance of the music, particularly in Der Einsame im Herbst (The Lonely One in Autumn). Her rendition of Der Abschied (Farewell) was deeply affecting, with the concluding words, “Ewig… ewig” (Forever… forever), lingering in the hearts of the audience. ★★★★☆ Broadcast on BBC Radio 3 on Tuesday, 27 May, and subsequently available on BBC Sounds.

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Upon meeting her in a Kensington hotel bar, it’s clear she is not literally riding a comet. Yet, this phrase reflects her unique approach to music and life. Buniatishvili’s performance style carries a wild intensity reminiscent of Sam Goldwyn’s advice to filmmakers: ‘Begin with an earthquake and build toward a climax.’

Some critics claim that her passionate interpretations and colorful personality exceed reasonable bounds. Buniatishvili dresses to embody her musicality, sometimes quite unconventionally. In a video promoting her Schubert album, she portrayed a drowning Ophelia, inspired by John Everett Millais’s painting, sparking intrigue and discussion. ‘What people should understand is that I offer everything on stage,’ she states. ‘There are no boundaries. After all, tomorrow is not guaranteed.’

She believes conforming to traditional interpretations of classical music borders on intellectual theft. ‘If your playing merely imitates the great pianists of the past, you are robbing them, rather than offering your own interpretation.’

Recently, Buniatishvili decided to prioritize solo recitals and personal programs over fulfilling requests from large orchestras. Next month, she will showcase this new direction at the Barbican in London, performing alongside six other talented soloists, including violinist Nicola Benedetti and countertenor Jakub Jozef Orlinski, in a concert characterized by emotion and intuition.

‘Before I chose to pursue my own path, I felt obligated to charm prominent conductors and orchestras,’ she reflects. ‘I found that unpleasant. While I consider myself a nice person, I didn’t want my career to hinge on being favored by specific conductors.’

Wasn’t that a risky choice? ‘Definitely. Forfeiting the traditional route leaves a significant gap in your schedule. But it is essential to remain true to oneself. Fortunately, promoters continued to offer me opportunities.’

Moreover, Buniatishvili hasn’t entirely stepped away from orchestral performances; she will be the soloist for Tchaikovsky’s First Piano Concerto at the BBC Proms this summer.

Her commitment to authenticity extends into her personal life as well. She travels frequently with her 16-month-old daughter, having amicably parted ways with her daughter’s father. ‘Has motherhood changed my perspective? Absolutely. I was quite egocentric at various points in my life,’ she admits. ‘I once believed performing was the pinnacle of my existence. Today, my child is my priority. This shift has granted me a sense of ease; I no longer worry about others’ opinions.’

Buniatishvili grew up in Tbilisi during the 1990s alongside her older sister Gvantsa, who is also a pianist and her manager. ‘Those times were challenging,’ she recalls. ‘Georgia had gained independence from the Soviet Union, which we all desired, yet it felt as if we had to start anew amidst utter chaos — with crime rampant and dire circumstances at home.’

How dire were things? ‘We frequently faced power outages, sometimes lacking both electricity and water. Not just hot water, but water altogether. However, our mother instilled discipline in us with the belief: ‘Practice diligently, and tomorrow will be brighter.’ We learned to perform with cold hands and on subpar pianos. I never complain about pianos today, as they are all a step up from what I had growing up.’

She gave her first concerto performance with an orchestra at the age of six and moved to Vienna at eleven to train with a teacher. ‘My parents saw it as an escape from a bleak reality,’ she states.

Didn’t she feel lonely? ‘All pianists grapple with loneliness due to the extensive time spent practicing alone,’ she reflects. ‘Yet, in that context, loneliness can also represent freedom.’

Buniatishvili is set to return to Georgia for performances in September for the first time in years, despite concerns over political unrest, saying, ‘The situation is somewhat alarming, especially with recent arrests for protesting election issues.’ She is firm in her stance not to perform in Russia. ‘Not while Putin remains in power.’

Residing in Paris, she has become an integral part of its musical scene, even performing at the reopening of Notre-Dame last December. ‘I was in Paris when Notre-Dame caught fire,’ she recalls. ‘It resonated with me deeply. It made me realize that even what we consider eternal—like Mozart’s music or Notre-Dame—can be fleeting.’

What piece did she play? ‘The same piece that will close my Barbican concert: the Adagio from the Bach/Marcello Concerto in D Minor,’ she shares. ‘To me, it symbolizes spring arriving at a cemetery—a representation that new life can heal past tragedies.’

Khatia Buniatishvili and Friends will take the stage at the Barbican in London on June 12. Buniatishvili will also perform at the BBC Proms on August 29.

However, the concert presented by the ensemble Apartment House was laborious in execution, notably slower than a previous recording made by American musicians five years prior. That interpretation, unveiled after the piece was lost for decades since its 1970 inception, showcased the music at a pace three times faster than this live rendition. Interpretation can vary greatly; one wonders what tempo Glass would prefer for his work.

Adding to the concert’s oddities, there were no program notes to guide the audience, likely contributing to a sense of confusion. The evening commenced with a performance of John Cage’s Harmonies, which features randomly selected chords and notes derived from 18th-century American hymns by William Billings and others. With the right context—Cage’s unique tribute to the American Revolution—the music’s purpose becomes clearer.

Further clarification was also needed regarding the new piece by Cassandra Miller, intriguingly titled Grace’s Amazing Imitation Apartment. The Canadian composer, now residing in London, is known for her compelling compositions, and this eight-minute work effectively captured attention. The piece featured a solo cellist, Anton Lukoszevieze, who navigated Dorian-mode harmonic patterns reminiscent of a piccolo’s pitch, accompanied by a piano that delivered bold chordal fanfares. However, some felt the piano line seemed incomplete, leaving its final intentions uncertain.

Audience members might have benefitted from additional context for Erik Satie’s three somnolent movements from Socrate, which were newly arranged for synthesizers, flutes, and strings. Satie famously wrote this piece while consuming only white foods, believing it would enhance the purity of his music. Such details would have provided an intriguing lens through which to interpret the weighty half-hour performance. ★★★☆☆ Festival continues until May 25.

Emma Jenkins’ libretto draws inspiration from Armando Iannucci’s acclaimed series The Thick of It, delivering a sharp critique of political blunders and human imperfections. The cast includes Jamie MacDougall portraying a foul-mouthed Scottish spin doctor. Jenkins crafts witty lines—such as the memorable rhyme of “Royal Highness” with “vaginal dryness”—yet this bracing energy also poses challenges in balancing the work’s tone.

The biting humor often overshadows the joviality that is characteristic of effective operetta satire, and Toby Hession’s musical score suffers from the lack of sympathetic characters. While Hession expertly orchestrates zany, vibrant musical elements that complement the libretto, the vocal writing lacks distinctiveness.

Kira Kaplan’s striking soprano as the lawyer stands out with impressive flair; however, the musical profiles of the other characters blend into a murky array of unpleasant traits. Even Ross Cumming’s charismatic performance as the deputy prime minister cannot elevate his character beyond the shared negativity of the setting, where the music emphasizes their ickiness rather than any endearing flaws.

Interestingly, this new operetta is overshadowed by a classic: Gilbert and Sullivan’s Trial by Jury, which is celebrated for its compact brilliance, delivering a wealth of clever melodies and characterizations in just 40 minutes. This proven success resonates more with the audience.

Director John Savournin offers a fresh take on Trial by Jury, reimagining it as a lively Jerry Springer-type television show that features a contentious couple and an animated audience. Both pieces share the same sets that Savournin uses in his parallel production of The Merry Widow, but Trial by Jury effortlessly showcases the charm that Laura Attridge’s production of Misconduct struggles to achieve.

Despite Richard Suart’s diminished vocal powers, he embodies the role of judge with a whimsical flair reminiscent of Bruce Forsyth. The Misconduct cast effectively fills other Jury roles with impressive zeal, and the orchestra—under Hession’s baton—does an exceptional job of underscoring the subtleties of Sullivan’s score, particularly capturing the striking basses at the judge’s initial entrance. The overall conclusion? Gilbert and Sullivan prevail, yet the evening remains an enjoyable experience. ★★★★☆ 130min Theatre Royal, Glasgow, until May 16; Edinburgh Festival Theatre, May 30 & June 6; Opera Holland Park, London, June 24 & 26.

The wind section of the RLPO is exceptionally refined and richly colored, potentially the finest among the UK’s leading orchestras. Their brilliance was particularly evident during the second part of Rachmaninov’s Symphonic Dances, showcasing the enchanting alto saxophone solo beautifully performed by Carl Raven. The audience’s cheers were also significantly directed towards conductor Domingo Hindoyan, who is now in his fourth year leading the orchestra.

Hindoyan thrives on vibrant orchestral works. The concert included not only the striking Rachmaninov piece, which brought forth a dynamic sound from the entire orchestra but also an engaging 11-minute piece called Fandangos by Puerto Rican composer Roberto Sierra. While Fandangos may lack structural depth, it served effectively as an exhilarating concert opener, allowing the conductor to exhibit his energetic style.

In addition to colorful compositions, Hindoyan also shows a keen interest in more grandeur musical works, such as Bruckner’s symphonies. While there was no Bruckner on the program this time, the evening featured Elgar’s poignant Cello Concerto, which was his final orchestral composition.

Spanish cellist Pablo Ferrández was the evening’s standout, pouring his passion into the opening chords of the concerto and moving expressively, often bending close to the strings in what felt like an intimate connection with the music.

Ferrández’s rapid pizzicato passages were exhilarating and, although the orchestra maintained a more subdued tone resonating with English melancholy, the emotional depth of the performance was undeniable. It was during his encore, Casals’ Song of the Birds, that he truly revealed the nuances of his artistry, captivating the audience into a profound silence. The orchestra also treated the audience to an encore, performing a beautifully arranged rendition of Rachmaninov’s Zdes’ khorosho by principal horn player Timothy Jackson, which was enchanting.

Overall, the performance highlighted the exceptional talents of Hindoyan and the RLPO, leaving the audience yearning for more opportunities to see them in London. Next, Hindoyan will conduct the RLPO in Verdi’s Requiem at Philharmonic Hall, Liverpool, on July 12.

Audience enthusiasm was palpable during the Royal Liverpool Philharmonic’s exuberant concert at Barbican, conducted by Domingo Hindoyan. The wind section of the RLPO, with its exquisite tuning and vibrant color, might just be the finest among the UK’s leading orchestras. Hindoyan will next lead the RLPO in Verdi’s Requiem at Philharmonic Hall, Liverpool, on July 12. Geoff Brown has further insights in the review of RLPO/Hindoyan.

BBC Symphony Orchestra/Elder — Dynamic Performances by Alice Coote and David Butt Philip

David Butt Philip delivered a stunningly dramatic performance, especially in Das Trinklied vom Jammer der Erde (Drinking Song of Earth’s Misery), showcasing both intensity and freshness in his tone during Von der Jugend (Youth). Meanwhile, mezzo-soprano Alice Coote drew listeners deep into the emotional core of the music from the very first strained notes of Der Einsame im Herbst (The Lonely One in Autumn). Catch this performance on Radio 3/BBC Sounds from May 27. Rebecca Franks shares more in the review of BBC SO/Elder.

OAE/Schiff — A Memorable Evening with Mendelssohn and Schumann

This concert at the Royal Festival Hall featured Andras Schiff surrounded by cherished collaborators, particularly the Orchestra of the Age of Enlightenment. The music of Schumann and Mendelssohn, two friends and contemporaries representing Romanticism, filled the hall beautifully. More details can be found in Geoff Brown’s review of OAE/Schiff.

RPO/Petrenko — Strauss Outshines Yunchan Lim

This concert felt like two distinct performances intertwined, featuring Mussorgsky’s Night on the Bare Mountain and Strauss’s Alpine Symphony, alongside a performance from the incredibly talented 21-year-old Yunchan Lim, who is making waves in the classical music scene. Lim’s delicate touch adds depth to his celebrated talent. Neil Fisher provides more in the review of RPO/Petrenko.

Anna Lapwood — Captivating the Royal Albert Hall with Organ Music

This concert, featuring Anna Lapwood, witnessed a full house at the Royal Albert Hall for a showcase of classical organ music. Reports from seasoned observers indicate that Anton Bruckner had achieved similar crowds back in 1871. Richard Morrison reviews Anna Lapwood’s remarkable performance.

Parsifal — Powerful Performances at Glyndebourne

The chorus’s performance was thrilling, with the London Philharmonic providing rich and sensitive accompaniment. Initially concerned with Robin Ticciati’s leisurely pacing of this expansive score, I found Act II so compelling as he led the opera to a beautifully tranquil conclusion. Scheduled until June 24, you can find more in Richard Morrison’s review of Parsifal.

Stile Antico — A Majestic Celebration of 20 Years

Celebrating its 20th anniversary, Stile Antico performed a spectacular program at Wigmore Hall. This nearly three-hour event included 14 substantial Renaissance pieces, two commissioned works, and engaging interviews with all 12 active members, hosted by Radio 3’s Hannah French. This grand celebration is summarized by Richard Morrison in the review.

LSO/Dudamel — An Exuberant Evening of Ravel and Strauss

While I considered deducting a star for the lack of dark thematic depth in this concert, the guiding force of Gustavo Dudamel through the London Symphony Orchestra’s delightful renditions of Ravel and Strauss scores was utterly captivating. Richard Morrison reflects on this entertaining performance in the review.

Trial by Jury/A Matter of Misconduct — A Modern Take on Operetta

Scottish Opera deserves applause for placing operetta at the forefront of its summer season, especially with their commission to accompany a classic. A Matter of Misconduct, staged at the Theatre Royal, Glasgow, explores themes of political ambition through a hapless character in a leadership contest. This production runs until May 16 and continues to various locations. More details are in Simon Thompson’s coverage.

Hallé/Elder — A New Classic Emerges from Huw Watkins

Huw Watkins’ Concerto for Orchestra feels as though it has always belonged to the repertoire. This piece results from a fruitful collaboration with Hallé, which has already yielded two acclaimed symphonies. It will be featured on BBC Radio 3 on June 5 and available on BBC Sounds; further insights can be found in Rebecca Franks’ review.

Quatuor Danel — A Stunning Performance with Shostakovich

Presenting three Soviet string quartets from the 1970s, the Carducci Quartet demonstrated remarkable restraint and precision, particularly in their interpretation of Shostakovich’s works. Meanwhile, the burgeoning Sonoro Quartet infused their performance of the fifth quartet with vibrant boldness, leaving the audience exhilarated. More from Daniel Lewis in the review.

Requiem A — Reflecting on Guilt and Grief in Vienna on VE Day

In Vienna, VE Day carries more complex meanings compared to London. Since 2013, the Mauthausen Committee Austria has commemorated this day through a festival of joy. This year, attendees experienced the premiere of Requiem A by composer Sven Helbig, contemplating guilt, grief, and renewal. Available on vinyl and digital formats, Richard Morrison shares more about this new work.

BBC NOW/MacMillan — A Flowing New Concerto

James MacMillan composed his new concerto for euphonium and strings, Where the Lugar meets the Glaisnock, evoking the intertwining of two rivers in Cumnock, his hometown. The music flows effortlessly in a seamless 25-minute piece that reflects the composer’s long-held inspiration. More from Rebecca Franks regarding this performance.

The Merry Widow — A Playful Modern Twist

Scottish Opera launched its operetta season on a remarkably sunny day with a new rendition of The Merry Widow, embodying a vibrant summer atmosphere. This production runs until May 17, followed by performances in various cities including Inverness and Edinburgh. Simon Thompson discusses this delightful production.

Crowe/Stankiewicz — A Dazzling Baroque Experience

This remarkable concert at Wigmore Hall showcased the talents of the individual players in a top-tier orchestra, especially soprano Lucy Crowe, who delivered Bach and Handel arias with exceptional skill, theatricality, and wit. This performance, now available on-demand, is reviewed by Richard Morrison.

Carmen — A Stunning Revival with Aigul Akhmetshina

The renowned mezzo-soprano Aigul Akhmetshina returns to the stage as Carmen, bringing both power and vulnerability to the role, depicting a complex character torn between diverse identities. This production runs at the Royal Opera House, London, until July 3. Neil Fisher offers insights in the review of Carmen.

Peter Grimes — A Captivating Theatrical Experience

Welsh National Opera showcased its talent with a powerful interpretation of Britten’s Peter Grimes, highlighted by precise orchestral playing and exceptional singing, under the baton of Tomas Hanus. This captivating production is touring until June 7, with more insights from Richard Morrison.

Carducci Quartet — Masterful Interpretation of Shostakovich

The Carducci Quartet’s performances of Shostakovich’s quartets at Milton Court Concert Hall combined admirable restraint with precision, offering a captivating array of string quartet repertoire. Daniel Lewis shares his thoughts on this significant event.

We invite you to share your own concert and opera suggestions in the comments below.