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Fiona Maddocks

Rimsksy-Korsakov: Scheherazade review an eclectic, exotic delight

The Borusan Istanbul Philharmonic's penchant for drawing on different styles and cultures reinvigorates an overplayed workRimsksy-Korsakov, whose symphonic tone poem Scheherazade is based on a tale from the One Thousand and One Nights, would have delighte

Proms 1, 4, 9, 6; Chamber Music 1 review celebrations, and doubt

The 120th season began in grand style with Elgar, but the World Orchestra for Peace sounded a note of uncertaintyA faint cloud of dust rose up from the big bass drum as the fateful hammer blows were struck at the end of Mahler's Sixth Symphony. The compos

Alma & Gustav Mahler: Lieder review warm, instinctive, golden-voiced

Karen Cargill (mezzo soprano), Simon Lepper (piano)(Linn)Gustav Mahler was none too liberated when it came to encouraging, or rather discouraging, his wife Alma with her own compositions: "Such a strange relationship between rivals," he wrote. "Do you hav

Maria Stuarda; New Music Biennial review

Maria Stuarda is a fight to the death between two magnificent queens and an 'eclectic' design.

James MacMillan: Work for Chamber Orchestra With Soloists review piercing portraits and Scottish concerns

These varied chamber works by James MacMillan are keenly concerned with Scottish identity, whether in the two-part From Ayrshire, written for violinist Nicola Benedetti and here played by Linus Roth, or in Tuireadh, a lament for victims of the Piper Alpha

Manon Lescaut; Quartett review

Raw and uneven, without a shred of comfort, Manon Lescaut ambushes by simple means.

Manon Lescaut; Quartett review

Raw and uneven, without a shred of comfort, Manon Lescaut ambushes by simple means.

Ben Foskett: Dinosaur review entering the composer's exuberant sound-world

British composer Ben Foskett writes music of variety and discipline – a play of microtones and modal harmonies, mechanistic structures and fluid melodic motifs.

Benvenuto Cellini; La fanciulla del West review

Coliseum; Opera Holland Park, London Berlioz's fizzing score takes off as Terry Gilliam lets rip with the extravagant Benvenuto Cellini Flame-throwers threw, tumblers tumbled, gigantic carnival masks mocked and leered; crowds waved mops and feather duste

Der Rosenkavalier review bursting with life, energy and wit

Glyndebourne's opening night, always an excitable occasion, was almost too burdened with circumstance and emotion: a sunlit anniversary, a death, a new arrival and a new production.