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.
A world-class Tristan and a handful of classical music’s biggest beasts are joined by a raft of top soloists and premieres. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
Toscanini venerated it, Tchaikovsky threatened to burn it. Semyon Bychkov delves into the mysteries of Manfred.
Gomyo's graceful Mozart holds its own against Fisch's mighty Mahler.
Weymark’s new and old English masterworks bridge the centuries.
The Hungarian conductor on why Mahler’s Third is the perfect symphony and why he will never conduct the Eighth. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
Tristan Clarke and Joe Buono have taken the Internet by storm with their melodica arrangements of classical hits. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
The relationship between the Venezuelan president and the LA Philharmonic’s Music Director takes another turn for the worse. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
Stars on offer include Nicole Car, Jessica Pratt, Leo Nucci, Ferruccio Furlanetto, John Tomlinson and Michael Fabiano.
Pinchgut Opera’s AD has just cut his first solo disc. The in-demand harpsichordist talks about the joys of Handel and musical theatre.
Brett Weymark enjoys exploring the ripe choral masterpiece that the Countess of Albermarle pronounced "disgusting".
Tom Scharfeld has seen off a challenge by the President’s legal team to naming his trumpet-teaching app, iTrump. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
Sydney-born Emma Dunch has been tempted back to Australia after nearly 20 years high flying in NYC. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
South African-born, UK-bred composer John Joubert is, we are told, the sort of chap to have three books on the go at a time. Not surprising then that the prolific nonagenarian turned to Charlotte Brontë’s Jayne Eyre as inspiration for his eighth opera in a catalogue that includes George Eliot’s Silas Marner and Joseph Conrad’s Under Western Eyes. A labour of love, written to no commission, the work took him from 1987 until 1997, and only received its premiere performance last year. Bar a few patches, this excellent recording on the pioneering Somm label derives from that concert. Along with composers like William Mathias and John McCabe, Joubert’s sound world owes a debt to Britten’s tonal lyricism, but in Jayne Eyre he allows his innate romanticism full play in a way that the more buttoned-up Britten would perhaps have shied away from. The result is a sensual, melodic score that despite employing only 35 players sounds rich and full with sensitively integrated orchestral piano and substantially deployed percussion leading the powerful climaxes. Joubert and his librettist Kenneth Birkin have crafted a lean framework that omits the extraneous, focusing almost exclusively on the characters of Jayne and… Continue reading Get unlimited…
