Review: Der Fliegende Holländer (Metropolitan Opera, New York)
Gergiev's hand on the tiller makes heavy weather of Girard's new Dutchman.
Clive Paget is a former Limelight Editor, now Editor-at-Large, and a tour leader for Limelight Arts Travel. Based in London after three years in New York, he writes for The Guardian, BBC Music Magazine, Gramophone, Musical America and Opera News. Before moving to Australia, he directed and developed new musical theatre for London’s National Theatre.
Gergiev's hand on the tiller makes heavy weather of Girard's new Dutchman.
Considered by many to be the greatest composer of all time, Limelight looks at the life, times and music of the trail-blazing Ludwig van Beethoven.
A period-sound, Freudian Dutchman sails a complex sea.
The night the wizard of the keys found he could only push the little Leipziger so far.
Beethoven shouldered his fair share of emotional vicissitudes over a lifetime, but his last twelve months were among the most trying of all. Clive Paget looks at the triumphs and the tragedies of the composer’s final year, while Brett Dean reflects on two of his own works that have been inspired by Beethoven’s complicated states of mind.
Iván Fischer's thrilling, instinctual BFO Mahler Five shows us what all the fuss is about.
Gerstein offers food for thought served up through the medium of a tangy Austro-Hungarian goulash.
One of today's great string quartets delivers unique accounts of Beethoven's music of the future.
Reinhold’s fiddle drags the opera fantasia into the 20th century.
Jansen is glorious in Brahms, while León offers a rich new work and a compelling nightcap.
Three Danes and a Norwegian exhibit crystal clarity and an imaginative eye to the future in early Beethoven.
Gounod’s first thoughts crackle with maximum firepower.
A trio of sparkling modern works gives a Danish master his latest due.